Seventies “Hispanics,” identifying with Latin American emergence and increasing immigration to the U.S., adopted the epithet 'latino', soon written as Latino. Media fast-tracked, English Latino would eventually tilt presidential elections, advocate national programs, and protest policies, with native and immigrant subgroups presumed homogenous. Enunciated identically as 'latino' and presumed to be 'latino' or its exact translation, “Latino” proved to be a transliteration that since its coining started diverging from 'latino'. Latino became the political mask of unity over discrete subgroups; its primary agenda identity politics as a racialized, brown consciousness divested of its Hispanic cultural history. In contrast, 'latino' retains its Spanish transracial semantics, invoking an 'hispano' cultural history. Nationally Latino represents the entire Hispanic demographic while internecinely not all subgroups identify as Latinos. Latino is defined by immediate sociopolitical issues yet when needed invokes the 'latino' cultural history it presumably disowns. Intellectual inconsistency and semantic amorphousness make Latino a confusing epithet that subverts both speech and scholarship. Collective critical thinking on its semantic dysfunction, deferring to solidarity, is displaced with politically correct but circumventing tweaks, creating Latino/a, Latin@, Latinx. On the other hand, Latino exists because its time had come, expressing an aspiration for a more participatory identity in a multicultural America. Julio Marzán, author of 'The Spanish American Roots of William Carlos Williams', suspends solidarity to articulate the intellectual challenges of his Latino identity. Writing to academic standards in a style accessible to the general reader, Marzán argues that from 'latino' roots Latino evolved into an American identity as a demographic summation implying a culture that actually origin cultures provide, ambiguously an ethnicity and a nostalgic assimilation. “Latino” are American-germane sociopolitical extrapolations of 'latino' experiential details, the often-conflicted distinction illustrated in Marzán’s equally engaging essays that revisit iconic personages and personal events with more nuance than seen as Latino.

"Living the Labyrinth: 101 Paths to a Deeper Connection with the Sacred" offers beginners and seasoned labyrinth users a multitude of new ways to approach this sacred tool. The short, devotional-like chapters may be used however you choose—because, as Jill Geoffrion tells us, any way we live the labyrinth is the "right" way. Filled with surprises and inviting growth at every turn, the labyrinth has enriched the lives of spiritual pilgrims in ways that embody the love and wisdom of God. With "Living the Labyrinth" as a guide, you will discover the labyrinth's remarkable gifts time and again.

The first time Helen Curry walked a labyrinth she was moved to tears and then "was filled with peace and possibilities." Here, she shares her years of experience with labyrinth meditation and shows how others can find serenity and guidance by adopting this increasingly popular practice. Unlike mazes, which force choices and can create fear and confusion, labyrinths are designed to "embrace" and guide individuals through a calming, meditative walk on a single circular path. The Way of the Labyrinth includes meditations, prayers, questions for enhancing labyrinth walks, guidelines for ceremonies, instructions for finger meditations, and extensive resources. This enchanting, practical, and exquisitely packaged guide helps both novice and experienced readers enjoy the benefits of labyrinth meditation, from problem-solving to stress reduction to personal transformation. Includes a foreword by Jean Houston, the renowned author and leader in the field of humanistic psychology, who is considered the grandmother of the current labyrinth revival.

A groundbreaking look at the phenomenon of the labyrinth, connecting this ancient symbol to modern scientific principles. • Illustrated with labyrinths from around the world and throughout history. • Demonstrates how the labyrinth differs from a maze and how it is a tool for interpreting ancient myths and religious beliefs. • Draws parallels between the labyrinth and quantum physics, showing how through the secrets of the labyrinth we can unlock the mystery of life itself. The powerful symbol of the labyrinth exists in countless cultures spanning the globe from Africa and ancient Greece to India, China, and pre-Colombian North and South America. For centuries they have been used for religious rituals, meditation, and spiritual and physical healing. In the labyrinth humanity finds a model of the quintessential sacred space that depicts the most profound levels of consciousness. Its center is regarded in many cultures as a door between two worlds, thus providing individuals with the ideal place for self questioning and meditation. In a comprehensive exploration of this time-honored symbol, Patrick Conty shows how the geometrical construction of the ancient labyrinth corresponds exactly with today's modern geometry, illustrating that recent developments in math and physics parallel the science of ancient civilizations. By looking at the way the two systems complement each other, Conty draws new conclusions about the ancient world and how that world can benefit us right now. Conty explores not only physical labyrinths but also reveals how the same transcendent principles are at work in Celtic knot work; the designs of ancient Chinese cauldrons; the tattoos and tracings of primitive art; the textiles of Africa, Peru, and Central America; and the geometric patterns in Islamic art.

Discover the world of Labyrinth in this guide to the wondrous creatures of the Goblin King's realm, featuring illustrations by acclaimed artist Iris Compiet. From Ludo to Sir Didymus, to the Goblin King's legion of mischievous minions, Jim Henson's Labyrinth is packed with wondrous beings and chaotic critters. For the first time, this deluxe volume brings their world to life through the stunning art of acclaimed illustrator Iris Compiet (The Dark Crystal Bestiary: The Definitive Guide to the Creatures of Thra). Exploring the nature and behavior of each creature through original illustrations and insightful text, Jim Henson's Labyrinth: Bestiary covers not only the beloved 1986 movie but also the wider world of the Goblin King's realm, including the hit comics and the original novelization. A gorgeous volume filled with incredible creature artwork, this is a must-have book for fans of Labyrinth, Jim Henson, and the fantasy genre.

Providing a historical and modern context for the unique spiritual discipline of walking a labyrinth, Travis Scholl weaves his own journey with a prayerful study of the Gospel of Mark, guiding readers to powerful encounters with God, even in the midst of quiet solitude, repetition and stillness. These 40 reflections are ideal for daily reading—during Lent or any time of the year.

This book traces the origins of the Postmodern eclectic grammar of linguistic collision back in the Surrealist poetics of ruins. Keeping in mind the images of lost direction in the big city as a central figure in the discussion of both the Modern and Postmodern aesthetics of displacement, Daniele starts comparing the epiphanic encounters of the Baudelairian flâneur in metropolitan Paris - in constant search for the traces of a lost symbolic order - with Breton's enigmatic pursuit of Nadja, the elusive sphinx in the crowd who moves in a mental territory of puzzling condensations and of ineffable objets trouvé. In his visual and written work, Marcel Duchamp was probably the first artist to envision the space of the crowd as a trans-urban, multiple dimension: a cool arena of disjunctive encounters contributing to transform the Surrealist erotic space of desire in a cooler, open field of performance. Deeply influenced by Duchamp's hybrid aesthetics, American Postmodern writers such as Donald Barthelme and Thomas Pynchon, and the performance artist Laurie Anderson, represent metropolis as a “geographical incest”, as a plural, entropic semiosphere which transcends the notion of urban community to become the tolerant receptacle of an ethnic and discoursive multiplicity, an electronic area of linguistic collisions translatable in new fragmented and unfinished narratives. Evoking the assemblages of Abstract Expressionists, the debris of Simon Rodia “junk art”, and the hybrid language of Postmodern architecture, this neo-Surrealist narrative discourse transforms the epiphanic traces envisioned by the Baudelairian and Bretonian heroes in partial parodies, in enigmatic fragments whose ultimate source transcends the narrator's knowledge. The conceptual strategy which is constitutive of these texts implicitly asks the puzzled reader to disentangle the entropic plots, immerging him in the midst of a “linguistic wilderness,” where all opposites - fact and fiction, man and machine, man and female - enigmatically and humorously coexist.