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  • The Four Luxembourgs Civitas Peregrina (From the diary of a traveler Pseudo-Vladislav Todorov)
  • Vladislav Todorov

The explorers of Luxembourg usually designate its four stages according to the four possible etymologies of its name. The first three: the Luminous one, the Dissipated one, and the Twisted one stem from the Latin: Lux, Luxuriosus, Luxus. The fourth is usually derived from the name of the legendary revolutionary Rosa Luxembourg. The present exploration shall adhere to these interpretations of the name thus established through tradition.

I - The Luminous City of Luxembourg

Some travelers also refer to it as the City of the Sun. This city encloses an enormous hill. Seen from afar its architecture resembles a gigantic mesh that has caught and subdued the upheaval of the mighty masses of earth which had inflated with gas and lava the earth’s crust and left behind the mountains as monuments of their provocative erections towards the sun. The city is segmented into seven circles or rings that grip the hill in concentric circles towards the top. It resembles a formidable crinoline that repulses any rascal who might crawl up the hill. A grandiose temple is erected at that very top. To be precise the temple itself is the top. It springs up into an extraordinarily large dome on the top of which rises another smaller dome in whose center gapes an orifice that looks straight on the middle of the temple where the altar is placed. The dome is painted inside with the map of the celestial constellations, as if the sky repeats itself only lower down and smaller than itself. It has stooped down to the temple like a mystical constellation, a cipher that locks the meaning of the earthly events. The orifice is the threshold at which the maximal cosmic space is turned over into the minimal symbolic space of the temple. It is precisely through this orifice that the cosmos discharges its own superfluity for it to descend as the sacred order of the temple. Thus, the temple resembles a Cyclops’s skull turned towards the sun which has scorched his eye in order to illumine him from inside. In this sense the illuminated-the internally luminous city is blind. Thus built the temple manifests through its figure the original sin of man towards the sun. Because before he stood on two legs, before his forehead bulged out like a church dome, before his eyes turned radiant, before he became sunlike man was turning up towards the sky and its luminaries, his scarlet and cracked like an enormous sore ape’s ass. It is precisely this original anal openness of man towards the sun that some travelers saw manifested in the architecture of the shrines. The radiant—the seeing eye, the organ of light that bathes in rays will always drag after itself like a tin can the embarrassment of being once an anus. Thus the central aperture of the temple, respectively the city expresses the ambivalent openness of the citizens towards their ruler—the Sun. Anyone entering the temple seems to cave in an ass through whose anus the Sun down-casts its stern and all-pervasive gaze. It is the source of the total illumination of the city. In general, the whole city is arranged in such a way that it culminates spatially in the aperture. Thus the whole city bathes its guilt in light. That is an all-encompassing luminescence in which you cannot help but wallow. This is the city of the total vertical transparency emanated by its center (the aperture). An all-pervasive solar gaze descends downwards as a guillotine. Man who stares against this gaze glows completely illumined from inside. Man stops casting a shadow. The city corpus is in fact the terrestrial figure of this super-terrestrial gaze. The very body and structure of the city are the terrestrial incorporation of the downward gaze of a super-power. The city itself represents the total exteriorization and exhibition of life before this gaze. The descending transparency of the world manifests the epiphany of the Eye of the supreme supervisor—the Sun. Any kind of opaque negativity is usurped by the center. It is located...

Additional Information

ISSN
1053-1920
Launched on MUSE
1993-01-01
Open Access
No
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