Has Anyone Used Sakura Binoculars

GEORGES CARL GUSTAV JUNG

The Archetypes and the collective unconscious (1)
As mentioned above, mandala means circle. The reason presented here has many variations, but all of them based on squaring the circle. Their basic motif is the idea of \u200b\u200ba center of personality, a sort of central point within the soul to which everything is related, by which everything is directed and which is both a source of energy. The energy of the center point is manifested in a virtually irresistible compulsion, in an urge to become what that is, just as every organism is compelled, whatever the circumstances, to take the form characteristic of his nature. This center is not how I felt or thought, but if I may say so, as if. Although the center is made up of the innermost point, it also has a circle, a contour that contains everything that belongs to the Self, ie the pairs of opposites from which the whole person. Of this total belongs primarily consciousness, then the so-called personal unconscious, then a large segment of the collective unconscious indefinitely, whose archetypes are common to all mankind. A number of archetypes are permanently or temporarily included in the sphere of personality and acquire, through this contact, an imprint individual: for example, to mention only the best-known figures, the Shadow, the Animus and Soul. The self, while it is simple, the other is highly composite, a conglomerate soul to serve me a concept of Indian religion. (2) What are
mandala (3)
The Sanskrit word mandala means in general "circle". As part of religious practices and in psychology it means images can be circular drawing, painting, drawing, dancing or modeling work. Immagini plastiche di questo tipo si riscontrano in special modo nel buddhismo tibetano; come figure di danza esse sono eseguite nei monasteri dervisci; come fenomeni psicologici affiorano spontaneamente nei sogni, in certi stati conflittuali e nella schizofrenia. Molto spesso i mandala contengono una quaternità o multiplo di quattro nella forma di croce, stella, quadrato, ottagono ecc. Nell’alchimia questo motivo ha assunto la forma della quadratura circuli .
Nel buddhismo tibetano il mandala ha il significato di strumento culturale ( yantra ) che dovrebbe aiutare la meditazione e la concentrazione. Il suo significato è alquanto simile nell’alchimia, dove rappresenta la combinazione dei quattro elementi di opposite directions. The spontaneous appearance of the mandala in psychological investigation of modern individuals can explore more fully the functional significance. As a rule, in fact, the mandala appears in conditions of psychic dissociation or disorientation, for example in children aged between eight and eleven years old, whose parents are in crisis or in adults, following the onset of a neurosis and its treatment, you are faced with the problem of opposites in human nature and he remained disoriented. Or in schizophrenics, whose world view is being distorted and confused by the irruption of unconscious contents incomprehensible. In such cases it becomes clear that the order imposed by severe like a circular image mandalic compensate for the disorder and confusion, mental status, and this through the construction of a central point to which everything is related, or a concentric arrangement of multiple, opposite, dell'inconciliabile. Obviously this is an "attempt by the nature of healing itself," an attempt that does not result from conscious reflection but from an instinctive impulse. That is used as the comparative research shows, a basic pattern, a prototype, it looks as it were everywhere and should in no way his individual existence only to tradition, any more than have recourse to tradition, to be transmitted, gli istinti, i quali son dati con ogni individuo alla sua nascita e appartengono al patrimonio inalienabile di una specie. Ciò che la psicologia designa con il nome di archetipo non è nient’altro che un determinato aspetto formale, frequentemente presente, dell’istinto, dato a priori come quest'ultimo. Di conseguenza, malgrado tutte le differenze esterne e indipendentemente dall’origine spaziale e temporale, si riscontra nei mandala una sostanziale conformità.
La "quadratura del cerchio" è uno dei tanti motivi archetipici che stanno alla base delle forme assunte dai nostri sogni e dalle nostre fantasie. La quadratura del cerchio è però uno dei motivi più importanti dal punto di vista funzionale: lo si potrebbe In fact, even to designate as "the archetype of totality." Under this meaning, "quaternity as a unit" is the pattern for all images of God, as demonstrated by the visions of Ezekiel, Daniel, Enoch (4), and the depiction of Gold with her four children. This presents an interesting distinction, because sometimes three children are represented with animal heads and only one with a human head, to what are the visions of the Old Testament, the emblems of the evangelists and seraphim reported last but not least , the nature of the Gospels: Synoptic three and a Gnostic. To finish, I must add that the story of opening Timaeus Plato ("One, two, three: and where, my dear Timaeus, the fourth ?...") to the scene of the second part of Cabiri Faust, the reason for the three and four as has been a constant concern of alchemy. The deep meaning of
quaternity, with its unique and centuries-old process of differentiation is also evident in the latest development of the Christian symbolism (5), may explain why "Du" (6) has chosen as an example of just the symbol formation 'archetype of wholeness. As this symbol is of historical documents in a central location, so it has a meaning in the individual of paramount importance. Mandalas are individual, not surprisingly, a huge diversity. In the vast majority of them are characterized by the circle and quaternity. In some predominates, but sometimes, for special reasons, including three and five. While the mandala
worship have always contained a particular style and a limited number of typical patterns, the individual using a mandala as it were unlimited amount of reasons and symbolic allusions, from which it is not difficult to see that they are trying to express all or in his experience of the individual's internal or external world, or its point of reference, within. Their object is the "Self" as opposed to 'I': this is not the reference point of consciousness, while the self includes the totality of the psyche, namely the consciousness and the unconscious. Not infrequently, therefore, the individual mandala presents a division into two halves, one clear and one dark, with their characteristic symbols. A historical example of this type is the mandala that Jacob Böhme has included in the treatise entitled Viertzig Fragen von der Seele . His mandala is, however, at the same time, an image of God, designated as such. This is not accidental, as the Indian philosophy, more than any other developed the idea of \u200b\u200bthe Self atman or purusha , makes no distinction in principle between the human and the divine essence. Similarly, in the western mandala, the spark characterizes the essence of the woman, the man with divine symbols which may also express the imago Dei: that is the image of god so unfolds like being in the world in nature, man.
That these images are, in certain circumstances, significant therapeutic effects on their authors, is an empirical fact findings and also easily understandable, since they are often a very bold attempt to understand and heal seemingly irreconcilable conflicts and to overcome seemingly irreconcilable divisions. Even a mere attempt in this direction usually has a beneficial effect, provided, however that was spontaneous. From an artificial repetition or a deliberate imitation is not to expect anything. (7)
Carl Gustav Jung
1. Jung, CG, Die Archetypen und das Kollektiva Unbewusste, Olten, Walter-Verlag, 1976 [trad.it.: The Archetypes and the collective unconscious, Hogarth, Torino 1980]
2. Id., p. 349 [Original title: Uber Mandalasymbolik. Published for the first time: Gestaltungen des Unbewussten, "Psychologische Abhandlungen", vol. 7 (Zurich 1950)].
3. Original title: Mandalas. Written by: Du, Schweizerische Monatsschrift (Zurich), vol. 15, No. 4, 16-21 (1955), dated "January 1955". The magazine was devoted to sessions "Eranos" in Ascona and the work of CG Jung. The article was illustrated with reproductions of the mandala.
4. Ezekiel, 1. 5 ff., Daniel, 7. 1 ff., The book of Enoch, 22. 2 ff.
5. proclamation of the dogma of the Assumption of Mary in November 1950. See Psychology and Religion (1938/1940) pp. 76 ff., Sage of the psychological interpretation of the dogma of the Trinity (1942/1948) pp. 167 ff. and Answer to Job (1952) pp. 442 ff.
6. "Du" is the title of the magazine for which Jung wrote this article.
7. Die Archetypen und das Kollektiva Unbewusste, p. 381

What To Write In Sympathy Card Uk

Rudolf Arnheim and GIUSEPPE TUCCI

Toward a Psychology of Art (1)
The choice of a circular pattern with the task of representing the universe is not random. The circle (or sphere) is the only configuration that does not nominate any particular direction, and is therefore used wherever spontaneously to depict objects whose form is uncertain, or irrelevant, or for raffigurare qualche cosa che non abbia alcuna forma, che possa avere una forma qualsiasi, o che possieda tutte le forme.
Considerata come oggetto visivo, la figura del cerchio è veicolo di due tipi diversi di espressione.

a) Vista come una circonferenza, vale a dire come figura monodimensionale, essa costituisce una linea a curvatura costante, la traccia di una rotazione senza fine. In tal caso, essa è posta in relazione con le forme a spirale e si adatta assai bene a simboleggiare la concezione orientale del tempo come ininterrotto, ciclico Ritorno dell’Identico (al posto della progressione in linea retta, che ha origine nel passato e procede toward a goal infinitely distant in the future).

b) as a hard two-dimensional view, the figure is an area in central symmetry, which extends from a center in all directions and is surrounded everywhere, the same distance from the center, the barrier of this outline. This barrier creates a constrictive family of carriers which make towards the center and expansive contrast vectors that emanate radially from the center. A circular boundary is always under tension like the casing of a ball, is subjected to a centrifugal pressure from inside and creates a centripetal pressure resisting expansion. The symbolic significance of this perceptual dynamics, related to activities directed towards the center and from it, we'll further. Here I will only recall that the rotational movement of the one-dimensional circle often symbolizes the time, while the radial two-dimensional dynamics of the disk shows the spatial relationships, whether real or figurative. (2)
Rudolf Arnheim
1. Arnheim, R., Toward a Psychology of Art , The Regents of the University of California, 1966 [trad. com.: Toward a Psychology of Art , Einaudi, Torino 1966] 2
Id., p. 285

Theory and practice of Mandala (1) was born
1.1 schema of the complex symbolic representation of this drama of disintegration and reintegration, which is the mandala, in which this dual process is expressed by symbols, where beds are wisely beginning, elicit the 'psychological experience liberating.
One should not think that the pictorial representation of the mandala is its only Buddhists. They have only drawn more precisely the ancient intuition which came with the passage of time clarifying, making profit, at least for the external format, even stranger ideas.
This is not the place to discuss origins of the construction of the mandala, its meaning and its significance, since in this book we are concerned not so much the question of origins, as the ideas that the mandala (as developed in Gnostic schools in India and in countries who have accepted the Indian experience) has become the center and symbol. Let us then examine these ideas when they are fully grown, and not from their point of departure. The first outlines
mandala consecration and preserves the surface from invading forces of disintegration cycles symbolized in demonic. But it is much more than just a surface to be kept pure and devoted to the liturgical and ritual purposes. It is actually a cosmogram, is the whole universe in its essential outline, in the process of emanation and resorption: the universe is not only in the inert expanse of space, but as a revolution of time, it is one and the other as a vital process that takes place from a principle essential and rotation around a central axis, the mountain Sumeru, the axis mundi upon which the sky and that is deeply mysterious underground bases. This is a pan-Asian concept which helped to give clarity and precision the ideas expressed in cosmographic zikurrat Assyrian-Babylonian, then reflected in the key of the imperial city of the King of Iran and then the image of the ideal of cakravantin palace, the monarch of the universal traditions India. Codest cosmographic equivalence and theories of the Assyrian-Babylonian origin but adapted to primitive intuitions according to which the priest or magician on earth demarcate an area sacred that not only represents the line that the defense claims, a projection of the arcane forces threaten the purity or integrity of the site's psychic who performs the ceremony, but is also, by transposition magic, the world itself, where, placing the center, the mixture is identified with the forces that govern the universe and it brings together the miraculous power. (2) 1.2
The same rule of course the construction of temples, each temple is a mandala. Entering the temple is not only entry into the holy place, but the entry in the mysterium magnum. Who is doing with pure awareness of the ritual circumambulation, according to the rules prescribed in order to visit the depths of the Temple, runs through the mechanism of the world, until he arrived in the sanctum sanctorum is transfigured, as reaching the mystical center of the sacred He is identified with the primordial unity.
From these complex conditions which derives the mandala is a geometric projection of the world, the world reduced to its essential outline, but implicitly, indeed, through identification with its center, the transformation of enterprises and thus determining the source of the first 'effectiveness the work he intends to make the mandala soon takes on a deeper meaning. It remained the paradigm of cosmic evolution and involution, but who used it was no longer just a reminder to return to the center of the universe, but rather an ebb of the experiences of the psyche of the merger, to find unity of consciousness raising and not distracted, and to discover the ideal principle of things. The mandala is then no longer a cosmogram, but a psicocosmogramma, the pattern of disintegration and reintegration one through very much from the one, to the absolute consciousness, full and bright, that yoga would again shine at the bottom of our being.
experience suggests that even in case of similar performances. The man puts himself in the center of the hidden principle of life, the divine seed, its mysterious essence, he has the intuition of an empty light that burns inside him and that spreads and spreads, his whole personality and in that light is focused around that takes place. (3)
1.3 Draw a mandala is a simple thing, it is a ritual that aims to palingenesis individual and details of which it must participate with all the attention that the importance of the result to be achieved requires a mistake, an oversight, an oversight or make the work ineffective. Not only because, as in every act and ritual magic, perfection is a guarantee of success, but also because every shortcoming is the sign of the carelessness of the sacrificer, indicates that he takes part with all the concentration and recollection due: thus lack the psychological conditions under which it produces in his mind the process of redemption. This explains the Buddhist masters have discussed with great detail the rules to be followed in the construction of the mandala. They begin to determine, for example, the quality of the string which should be use to mark the outline of the individual parts of matter that must be made, how many wires twisted together should be, providing that they are five and each of a color. This string dipped in colored powder is essential to delimit the parts of the mandala: mandala adagiatala on the surface where you must draw, if you fix the heads keeping them taut, then with two fingers, lifting it and letting it fall suddenly that scatters the dust of which is soaked. So you get the basic track on where you insert the following drawings. The treaties also require measures Cotesta cord and purification rites of the various tools that will be used for the ritual act.
... In general we can say that the mandala is an outer belt and one or more concentric circles, which racchiudono a loro volta la figura di un quadrato diviso da linee trasversali; queste partono dal centro e toccano i quattro angoli così che la superficie resta sezionata in quattro triangoli: nel centro e in mezzo a ciascun triangolo cinque cerchi contengono figure di divinità o emblemi.
Del simbolismo delle singole parti in appresso faremo parola; ma intanto conviene subito dire che a questo paradigma di linee essenziali si sovrappone uno schema più complesso nel quale ciascun elemento ha un significato ed anche un nome particolare.(4)
1.4 Conosciamo ora lo schema elementare del mandala: abbiamo per così dire ricostruito la sua ossatura, abbiamo descritto lo schema delle linee che lo determinano, lo dividono in parti, lo sezionano. Ma this is outside the diagram, we must now see what should draw on its surface, which is the symbolic significance of the figures that you will have to draw, especially as the mixture will have to read this mess of hieroglyphics, and how those images back through mysterious to the sense that they foreshadow.
The mandala, as we see, the interior is divided into five sectors, as the four sides of un'imagine or you have a central symbol in the four cardinal points four other images or symbols. We must beware dall'intendere this partition in the primitive way, that cosmographic. Here quinary arrangement of images and symbols not only marks the four points Cardinals rotating around a center (5) that affects them so doing around him the sequence of space and time, but it has a psychological meaning: the mandala is yes to all, but all the same as reflected in the ego and the five points scored in the mandala is tailored to the five elements of human personality, centered around the principle conscious core of the individual, the cause of samsara is set back. Suitable
the macrocosm to the microcosm prevails over this, in the esoteric symbolism: not as physical support, but as a complex psychological, because the revulsion of the mind and nothing else should do it. (6)
1.5 For reasons Cotesta the effective presence of images on the surface of the mandala is not necessary: \u200b\u200binstead of their performance, just the symbol of syllable, the mysterious master of their form. Remember that even these mantras are more real than the image, because this is an appearance appropriate to our karmic limitation, is a figure whereby what has no form becomes, with an artifice, accessible to us, by a robe imagined ourselves, beneath which lies an invisible essence, though, so to speak, immediately sensitive to the concentration of meditation that makes us sharers. In other words, there is a reciprocal relationship between the being that is revealed e la persona cui si rivela. In virtù di tale reciprocità quest’ultima, in certo senso, foggia essa stessa l’aspetto del primo, adattandolo al suo modo di concepire e alla sua maturità carmica...(7)
1.6 La liturgia che accompagna la costruzione e il disegno del mandala è molto complessa. Anzitutto essa presuppone di regola la presenza di un maestro che compie la cerimonia e di uno o più discepoli che abbiano chiesto di essere iniziati ai misteri rivelati in forma simbolica da quei mandala. L’accesso al mandala è infatti il compimento del lungo e paziente tirocinio, la prova della maturità spirituale che il maestro ha riconosciuto nei neofiti. La preparazione scolastica e dottrinale ha eliminato a poco a poco l’ignoranza that darkens the intellect, those errors and the uncertainties that are peculiar to the experience on earth. It now requires baptism to erase the stains congenital those that inevitably accompany our human limitations: a sacrament to help us fulfillment in our revulsion to the other plan and facilitate this, a psychological drama that upsets our inner life , return and palingenesis.
The first thing to do is purification dell'offiziante. No one can take a ritual if it is spiritually and physically pure fasting and abstinence are lawfully prescribed bathroom.
The choice of location and time is subject to caution. You must choose an auspicious day and a lonely place near the bank of the river or the sea or north of a city, the chapel of a temple, then you must prepare the ground on which you intend to draw the mandala, is to remove the stones, coal, each surplus animals that by chance there is. The ground must be flat, smooth, indicating that its appearance already in the analogy with the transcendent plane, the plane in which the mandala is adamant to be transformed as soon as the rite is performed. Then we need to eliminate the demons ... (8) 1.7
So reading the mandala, the depths of his conscience relive the moments that it represents, and spiritually in order along the various stages that are shown symbolically on the surface, producing lysis. Little by little, rising by degrees from one sector to another of its plot, that is an inner state to another and the next most complete and does not cancel the previous one, but surpasses it in himself content, the neophyte has reached a point Central. This can be done physically, such as in the great mandala used for initiation ceremonies when he, along the various parts of the mandala, finds himself in the center with his person, then that itself experiences the catharsis mandala, or mentally when focusing on the designs of mandala, put himself in the truth than foreshadowed. Of course, this point is the fifth point, the extreme point capable di una rappresentazione visibile: fuori, al di sopra è il sesto punto, l’altro piano, il Vajradhara, nel quale il miste si annulla, dal centro mandalico, così raggiunto, penetrando nella sua lucentezza con una revulsione di piano che si determina improvvisa ed immediata.
La revulsione è questione di un istante: quanto si è penetrata la verità o la essenza divina, si conosce tutto (Isvarapratyabhijñâvimarsinî of Abhinavagupta, vol. III, pag. 407, v. 10).
Pertanto il processo si appalesa agli occhi del miste, debitamente iniziato, come un immenso, mobile mandala che ora si proietta nel folgoramento dei suoi simboli visibili, splendenti imagini di dei aureolati di gloria celeste ed abbaglianti, ed ora si riassorbe nel punto centrale, immota stella che in sé tutto riassorbe e da cui tutto con vicenda alterna emana. Ma egli è quel centro, idealmente, identificando il mistico loto sulla sommità della propria testa con quel punto, inesausta matrice di tutto ciò che è, fu e sarà. Siamo quindi necessariamente portati a parlare di questa fase suprema, di questa trasposizione del mandala nel corpo del miste. (9)

Giuseppe Tucci

1 Tucci, G., Teoria e Pratica del Mandala , Casa Editrice Astrolabio-Ubaldini, Roma 1969
2 Id., p. 36
3 Id., p. 39
4 Id., p. 52
5 La condizione indefettibile , aksharam padam (Guhyasamaja, p. 90)
6 Teoria e pratica del Mandala , p. 63
7 Id., p. 78
8 Id., p. 99
9 Id., p. 120

I Have An Audition And Im So Nervous

MANDALA 1976-1994 "Works in the studio"

I luoghi del sensibile
L'esperienza dell'arte come luogo, luogo mentale e luogo del visibile, luogo della forma e del gesto, della parola e del pensiero, pervade l'opera di Filippo Patella.
Mai luogo del vuoto né dell'assenza, l'arte non è per lui pura idea astratta o mera raffigurazione del reale, ma è piuttosto pratica vitale.
Una pratica complessa e articolata connessa ad una ricerca più che ventennale the mandala. Mandalas are symbolic representations that have complicated an infinite variety of shapes. Mandala means circle in Sanskrit, but not only forms the mandala, in the recruitment of many symbolic meanings, are geometric projections of the life process of the universe, representations dell'ininterrotto flow of cosmic time, paradigms of evolution and involution of the world .
In certain religious practices or in psychology, the circular mandala images are drawn, painted, shaped, variously drawn (Figures dance mandala dervishes perform in monasteries), helps meditation and concentration. The Jungian interpretation
them as figures of thought, images reached the equilibrium. Marked on the ground and used as a plant for the construction of buildings, the mandala is a sign of perfection, a source of energy, where the union of circle and square is used to enclose sacred spaces and views of reality. For Philip
Patella, the mandala is the sensible place and place of reality, new dimensions of Being in search of itself, producing forms as well.
Built in the process of aesthetic education, it is grown as a discipline of design and expression together, place in the mind, heart, body artist.
"Make a mandala is a ritual," says the artist, expressing close to the ritual of doing the will of ricomporne l'unità creativa di teoria e prassi nel nome di una corrispondenza tra fare e ideare, agire e progettare, che diviene cifra stilistica connotante tutto il suo lavoro.
I mandala di Patella, sfruttando tutte le possibili figurazioni che cerchio e quadrato suggeriscono, propongono una grande multiformità di tracciati e pervengono spesso alla circonferenza centrale attraverso poligoni regolari, forme a croce, a stella, simmetrie radiali, etc.
A volte gli schemi compositivi assumono ritmi rotatori di complementarità e d'alternanza, sino a creare giochi ottici ed effetti percettivi ambigui.
Complessa appare anche la tecnica esecutiva caratterizzata da una variabilissima sperimentazione materica. Difatti, con grande disinvoltura, l'artista passing from one material to another, diversifying the use of strategies that add to the paint pigment refined technique of mosaic and involving - without exceptions - remains natural (raw or treated), fragments of glass, milled powders and bonded with epoxy resins , pieces of Murano, local marbles, stones and multicolored chips ... Read
transparency of bodies mysterious protruding roughness of irregular cubes, fleeting reflections of multicolored tiles: the careful work that makes the surface rough and porous current plans, now shiny and smooth, now sharp, incised, carved or soft gold, creates involving tactile effects. Added to the perceptual effects produced by doses of calibrated color contrasts of timbre or tonal wide agreements, which explode and implode the diagrams of an accurate visual layout.
The overview of these tracks mandalic shows, therefore, all the rigor of the serene visual matching of forces between the suspended vital concern of material research and thought-space of formal paths. Maria Vinella

Mandala
27 years I work on the mandala. I started in 1969 to study the ancient Indian philosophy and I immediately confronted with the psychological issues of the mandala. Since 1976 I have made each year, systematically, one or more of the mandala, with different artistic techniques: painting, intaglio printing, mosaic.
My words will not help much to explain what it means to make a mandala is a reality that can not be translated into any other form of expression than that caused by the presence of the same mandala made. Words can try to explain the technical architecture (and in the mosaic that is perhaps closer) that I built over the years, as an operational tool: words can even describe what I do not accept rejection and as a person and as an artist; in the end, inevitably refer to the works and only they have been and are my guide.
These lines are a kind of instruction manual for use: the complexity of issues led me to make this little book, according to a formula that unusual, of course, requires a few notes. And
'Some songs, brutally separated from the overall context of the work, prove difficult parts at the beginning: I invite the players not to dwell on the single track, but only on the overall nature of the choice made. From
varied and extensive bibliography on the mandala I selected a few pages of four authors who have accompanied some moments of my research: Rudolf Arnheim, Giuseppe Tucci, Carl Gustav Jung, Georges Poulet.
Arnheim. The choice of the circle to graph the mandala is not an absolute choice on my part: some of my mandala (especially some made in intaglio) have different geometry. The circle, however, because of its shape and the dynamics of expression and perception-related, remains the primary configuration.
Tucci. The mandala is a geometric projection of the world, a cosmogram, and this is its outer form, surface, made by me, the mandala becomes a psicocosmogramma, the pattern of my human representation. My mandalas are the result of a personal ritual, do not follow the dictates of the precise perfect Buddhist masters. On the other hand, the long and detailed descriptions made by Tucci and which I quoted in full, do not belong to me if not for the rigor of formal requirements da compiere. In stretta relazione con questo rigore formale (sostanziale quando si applica alla dottrina buddhista) io ho perfezionato una mia liturgia che mi fa accedere a dei livelli complessi di "fare arte".
Jung. La conformità dei mandala non può essere spiegata. Fossi io un esaminatore attento e particolarmente minuzioso nella ricerca, non riuscirei a stabilire legami tra le parole e la verità racchiusa nelle "opere" che vado realizzando da tempo. Il breve saggio di Jung esaurisce ogni possibile curiosità sulle motivazioni psicologiche indotte dai mandala.
Poulet. «Non le modificazioni di una forma che per definizione non è modificabile, ma i cambiamenti di significato a cui essa non ha mai ceased to provide the human spirit: these are the Metamorphoses of the Circle that Poulet analyzed to discover the corresponding changes in the way of individuals to represent what is in them more intimate, their awareness of space and time. The archetypal form of the circle is taken as the image now unconscious conscious hours of the spatiality of the spirit and traced, revealed, described by all the changes that has been in Western literature and thought from the Middle Ages to contemporary poetry. "
My classical training has given me the authors and the works that most clearly telling stories, routes and human dynamics related to the literary mia storia personale.

Filippo Patella