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Gruseliges Labyrinth

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In this Maurois notes that to some extent, "'Every writer creates his own precursors'", finally noting that Borges' stories can be described by "'an absurd postulate developed to its extreme logical consequences'", making "a game for [Borges'] mind".

This, he claims, reflects Borges' interest in metaphysics and philosophy, and leads to his style of magical realism.

The balance of the translations are by Donald A. Originally published by New Directions Publishing ,. On the book's release, the journalist Mildred Adams at The New York Times wrote of it, "The translations, made by various hands, are not only good they are downright enjoyable.

They make it finally possible, after all these years, to give Borges his due and to add North Americans to his wide public.

An excellent compendium, it's a sort of collection of collections which I find a little frustrating although it mirrors his theme of recursiveness.

More recently, there has been the reissue of all of his short stories: Collected Fictions, translated by Andrew Hurley.

But this new translation, commissioned by his estate after his death, has proved controversial. The battle over Borges's legacy in English has become as Daedalian as one of his faux literary essays.

It's hard to know where to begin rereading. The essayist Alberto Manguel writes in The Guardian that, "since the first American translations of Borges, attempted in the Fifties by well-intentioned admirers such as Donald Yates and James Irby, English-speaking readers have been very poorly served.

From the uneven versions collected in Labyrinths to the more meticulous, but ultimately unsuccessful, editions published by Norman Thomas di Giovanni , from Ruth Simm's abominable apery of 'Other Inquisitions' to Paul Bowles's illiterate rendition of 'The Circular Ruins', Borges in English must be read in spite of the translations.

In the London Society of Authors selected Labyrinths as one of the fifty outstanding translations from the last fifty years. Although early Cretan coins occasionally exhibit branching multicursal patterns, [2] the single-path unicursal seven-course "Classical" design without branching or dead ends became associated with the Labyrinth on coins as early as BC, [3] and similar non-branching patterns became widely used as visual representations of the Labyrinth — even though both logic and literary descriptions make it clear that the Minotaur was trapped in a complex branching maze.

Branching mazes were reintroduced only when hedge mazes became popular during the Renaissance. In English, the term labyrinth is generally synonymous with maze.

As a result of the long history of unicursal representation of the mythological Labyrinth, however, many contemporary scholars and enthusiasts observe a distinction between the two.

In this specialized usage maze refers to a complex branching multicursal puzzle with choices of path and direction, while a unicursal labyrinth has only a single path to the center.

A labyrinth in this sense has an unambiguous route to the center and back and presents no navigational challenge.

Unicursal labyrinths appeared as designs on pottery or basketry , as body art , and in etchings on walls of caves or churches. The Romans created many primarily decorative unicursal designs on walls and floors in tile or mosaic.

Many labyrinths set in floors or on the ground are large enough that the path can be walked. Unicursal patterns have been used historically both in group ritual and for private meditation , and are increasingly found for therapeutic use in hospitals and hospices.

Labyrinth is a word of pre-Greek origin whose derivation and meaning are uncertain. Maximillian Mayer suggested as early as [9] that labyrinthos might derive from labrys , a Lydian word for "double-bladed axe".

Pliny 's Natural History gives four examples of ancient labyrinths: the Cretan labyrinth, an Egyptian labyrinth, a Lemnian labyrinth, and an Italian labyrinth.

These are all complex underground structures, [19] and this appears to have been the standard Classical understanding of the word.

The goddess of the double-axe probably presided over the Minoan palaces, and especially over the palace of Knossos. When the Bronze Age site at Knossos was excavated by explorer Arthur Evans , the complexity of the architecture prompted him to suggest that the palace had been the Labyrinth of Daedalus.

Evans found various bull motifs, including an image of a man leaping over the horns of a bull , as well as depictions of a labrys carved into the walls.

On the strength of a passage in the Iliad , [24] it has been suggested that the palace was the site of a dancing-ground made for Ariadne by the craftsman Daedalus , [25] [26] where young men and women, of the age of those sent to Crete as prey for the Minotaur, would dance together.

By extension, in popular legend the palace is associated with the myth of the Minotaur. In the s, archaeologists explored other potential sites of the labyrinth.

Another contender is a series of tunnels at Gortyn , accessed by a narrow crack but expanding into interlinking caverns.

Unlike the Skotino cave, these caverns have smooth walls and columns, and appear to have been at least partially man-made.

This site corresponds to an unusual labyrinth symbol on a 16th-century map of Crete contained in a book of maps in the library of Christ Church, Oxford.

A map of the caves themselves was produced by the French in The site was also used by German soldiers to store ammunition during the Second World War.

Howarth's investigation was shown on a documentary [28] produced for the National Geographic Channel.

More generally, labyrinth might be applied to any extremely complicated maze-like structure. In Book II of his Histories , Herodotus applies the term "labyrinth" to a building complex in Egypt "near the place called the City of Crocodiles ", that he considered to surpass the pyramids :.

It has twelve covered courts — six in a row facing north, six south — the gates of the one range exactly fronting the gates of the other. Inside, the building is of two storeys and contains three thousand rooms, of which half are underground, and the other half directly above them.

I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles.

The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards.

The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.

During the nineteenth century, the remains of this ancient Egyptian structure were discovered at Hawara in the Faiyum Oasis by Flinders Petrie at the foot of the pyramid of the twelfth-dynasty pharaoh Amenemhat III reigned c.

In , the Harpers Dictionary of Classical Antiquities described the structure as "the largest of all the temples of Egypt, the so-called Labyrinth, of which, however, only the foundation stones have been preserved.

Pliny the Elder 's Natural History According to Pliny, the tomb of the great Etruscan general Lars Porsena contained an underground maze.

Pliny's description of the exposed portion of the tomb is intractable; Pliny, it seems clear, had not observed this structure himself, but is quoting the historian and Roman antiquarian Varro.

A design essentially identical to the 7-course "classical" pattern appeared in Native American culture, the Tohono O'odham people labyrinth which features I'itoi , the "Man in the Maze.

The earliest appearances cannot be dated securely; the oldest is commonly dated to the 17th century. Unsubstantiated claims have been made for the early appearance of labyrinth figures in India, [37] such as a prehistoric petroglyph on a riverbank in Goa purportedly dating to circa BC.

Securely datable examples begin to appear only around BC. Labyrinths appear in Indian manuscripts and Tantric texts from the 17th century onward.

They are often called " Chakravyuha " in reference to an impregnable battle formation described in the ancient Mahabharata epic.

By the White Sea , notably on the Solovetsky Islands , there have been preserved more than 30 stone labyrinths. The most remarkable monument is the Stone labyrinths of Bolshoi Zayatsky Island — a group of some 13 stone labyrinths on 0.

Local archaeologists have speculated that these labyrinths may be 2,—3, years old, though most researchers remain dubious. The 7-course "Classical" or "Cretan" pattern known from Cretan coins ca — BC appears in several examples from antiquity, some perhaps as early as the late Stone Age or early Bronze Age.

An image of the Minotaur or an allusion to the legend of the Minotaur appears at the center of many of these mosaic labyrinths. The four-axis medieval patterns may have developed from the Roman model, but are more varied in how the four quadrants of the design are traced out.

The Minotaur or other danger is retained in the center of several medieval examples. The Chartres pattern named for its appearance in Chartres Cathedral is the most common medieval design; it appears in manuscripts as early as the 9th century.

Earliest securely dated labyrinth, incised on a clay tablet from Pylos , ca BC. Labyrinth among rock drawings in Valcamonica , Italy , probably 1st millennium BC.

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