It was 1998, I just migrated to the United States from Jordan with my mother to start a new life.
As I reflect now on that time period, I realize that I had subconsciously sought a certain cultural trace in order to understand and appreciate America.
Of all the possible venues for pandora charms for wife me to explore this quest, I stumbled upon professional wrestling; known as WWF (World Wrestling Federation) at the time but WWE (World Wrestling Entertainment) now. For many years, I wondered what captured and intrigued me in this form of entertainment. From 1998 to 2001, I spent countless hours watching men and women in tights perform a choreographed version of 'clash of the titans'; not to mention the enormous amounts of apparel and video games that I thoroughly enjoyed.
It is only in the past few years, after I began my doctoral program and study of Islamic mysticism, that I understood the tremendous importance of professional wrestling during that period of my life. The vivid memories of being introduced to characters like the Undertaker, Goldust, Mankind and Kane for the first time was surreal, to say the least. For a few ephemeral moments every Monday night, I was drawn intoa world that was presented so masterfully that it veiled me from its theatrics. from the performance itself.
Professional wrestling was describedthen as the'Attitude era'. There was more magic in this 'Attitude' than theater. it was a perfectly positioned liminal placebetween a stage performance and a Tolkien novel on film. To be able to believe and invest emotionallyin the Undertaker as a prince of darkness and dead manwho returns from Hades every time he appears in the ringis itself a creative act. These larger than life personas were masterfully submerged within a feeble and very real human flesh in order to captivate the audience.
It is precisely this perplexing mixture of theimaginaryin the material and elemental that makes professional wrestling an example of whatthe famed Muslim Sufi Ibn al Arabi calls a barzakh(isthmus)and lam khayl(imaginal realm). It is neither an entirely material realm with very human characters nor a completely spiritual experience with fantastic supra elemental pandora jewelry retail stores events that are distant and intangible. On the contrary, it is where bodies are spiritualized and spirits are corporealized. This is a collapse ofthe magical onto themundane. It is the Parthenon of modernity, where the gods of heavens and the underworld grace the mortals with their immortality. even if for only a few moments.
Shakespeare was able to mimic this ontological performance by piercing through the facade of theater and transforming his plays into mirrors of multiple realities. 'Breaking the fourth wall', pandora jewelry site it is so called, ravages the formality of the stage, actors and audience and deconstructs the entire apparatus into mere traces of abeyond. This excerpt from the Tempest shows this eloquently:
Shakespeare shows us that we are all actors who unsheathe their performances constantly and incessantly. As Ibn al Arabi also informs us, our essences (that which is beyond the soul), go through akhalq jadd(renewed creation) at every indivisible moment in time; we shed an old form and clothe ourselves in a new expression of eloquence that emerges from the most immutable of essences that define us.
We engage Shakespeare and Ibn al Arabi in a conversation in order to learn from them that, as actors on the grand stage of life in the divine comedy and tragedy of creation, we are constantly in a dress rehearsal. The moral of the play, its success and rapture, is to know that it is a play and yet remain drawn in and captivated by the props and set.
The memories of the 'Attitude era' should ignite in us a new 'Attitude' towards pandora charm bracelet the importance of mythology. The tales of legends and folk stories whose importance lies not, contrary to common modern belief, in their truthfulness or falsity; but rather in their very ability to ignite the spark of the imagination.
The importance of the imagination was part and parcel of the credos of the pre modern man. From Shakespeare's Globe theater to gladiator games and ritual sacrifices at the Parthenon, mythology has always been at the helm of history's creative act. The advent of the "rational positivist era" has transformed these acts and human sacraments into figurative shells of their former selves. Much as Robert Orsi highlightsinBetween Heaven and Earth as regards the sacraments in Catholicism: the believer is no longer consuming the blood and flesh of Christ but rather igniting the trace of a lost memory.
The modern man is therefore in need of fully setting aflame his connection with that which is fascinating, surreal and larger than life; for in reality, that and only that is a glimpse intoal aqq, the very real and true. Perhaps religious communities, more so than others, are in dire need of embracing a curriculum that cultivates the imaginal faculties of students and even teachers.
The book, novel and poem of Virgil or Mary Shelley's Frankenstein must also be generous enough to host new forms of that same meaning of inspiration and mystique. From films and music to video games, there must always be a hope and attempt to increase the Marxian modes of imaginal production and doors into the vast and endless world of the mythological. There precisely lies the 'logos' of myth: its ability to plant the seed of dissonance and expand the heart in anticipation of the piercing and impending appearance of the One.
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