Text derives from the Latin textus (a tissue), which is in turn derived from texere (to weave). It belongs to a field of associated linguistic values that includes weaving, that which is woven, spinning, and that which is spun, indeed even web and webbing. Textus entered European vernaculars through Old French, where it appears as texte and where it assumes its important relation with tissu (a tissue or fabric) and tisser (to weave). All of these resonant associations are relevant to understanding how "the text" is used in contemporary scholarship, especially the interplay between its nominal and verbal forms, an interplay that registers the quality of what Julia Kristeva has called the text's "productivity," that is, its capacity to enable and exceed the producing, the materialization, of products.
The emergence of the text as an important concept in humanistic scholarship has taken many twists and turns. When Walter Benjamin, in his essay "The Image in Proust," described Proust's writing as a textum, a weaving not unlike the raveling and unraveling carried out by Penelope in the Odyssey, he was bringing to closure a tradition that dates back at least to Quintilian (c. 35–100 C.E.), a tradition of associating the literary work with a tissue woven of many threads. If it makes sense to associate Benjamin with the closure of this tradition, it is because in his insistence on the dialectic of raveling and unraveling, he foregrounds a key preoccupation of what came to be known as textual criticism. Textual criticism—a distinctive fusion of the practices of biblical exegesis, paleography, and philology linked now with the figure of the German philologist Karl Lachmann (1793–1851)—was an institutionally and largely theologically organized emphasis on the text as an empirical object. This expressed itself during the fourteenth century in the works of William Langland, Geoffrey Chaucer, and John Wycliffe (among others) as a concern for the original and therefore true words contained in any writing—in effect, what God actually said. The text was defined either in opposition to commentary and annotation or in opposition to all that is supplemental: introductions, appendices, etc. This was a text understood as a thing, as a specific and precise configuration of words toward which one was then authorized to turn his or her hermeneutical attentions.
Read more: Text/Textuality - Etymology - Tissue, Tradition, Textus, Weaving, Words, and Closure http://science.jrank.org/pages/11410/Text-Textuality-Etymology.html#ixzz1DB0wlwuC
(καλωσόρισμα από και προς την καινούρια μου φίλη Μ, η θετική ενέργεια ως δάνειο και αντιδάνειο)
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http://carpetmuseum.ir/virtuals/virtualtours.htm
http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html
The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible. Thus it is that the theater brings onto the rectangle of the stage, one after the other, a whole series of places that are foreign to one another; thus it is that the cinema is a very odd rectangular room, at the end of which, on a two-dimensional screen, one sees the projection of a three-dimensional space, but perhaps the oldest example of these heterotopias that take the form of contradictory sites is the garden. We must not forget that in the Orient the garden, an astonishing creation that is now a thousand years old, had very deep and seemingly superimposed meanings. The traditional garden of the Persians was a sacred space that was supposed to bring together inside its rectangle four parts representing the four parts of the world, with a space still more sacred than the others that were like an umbilicus, the navel of the world at its center (the basin and water fountain were there); and all the vegetation of the garden was supposed to come together in this space, in this sort of microcosm. As for carpets, they were originally reproductions of gardens (the garden is a rug onto which the whole world comes to enact its symbolic perfection, and the rug is a sort of garden that can move across space). The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity (our modern zoological gardens spring from that source).
http://en.wikipedia.org/wiki/File:Tehran_Logo.jpg
http://www.carpetour.com/fa/part.asp?p=2013&AID=18557
Like words in a language, there are `motif-words` that remain unchanged or little changed for generations, while others become obsolete or lose their meaning, original worth and function.
Like a language, the traditional weaver cannot change the meaning, spelling and phonetics of the words, but has the liberty of employing them at will, making new phrases.
The individual liberty of the weaver has no lesser or greater scope than the liberty enjoyed by a writer or a poet. The incredible wealth of motifs, designs and ornamentation in Persian rugs and carpets has led scholars to believe that these are being invented by individual weavers.
Behind the creation of a Persian rug or carpet are weavers (particularly in case of Fars rugs and carpets, most of the weavers are women from tribal or semi-tribal communities) loyal to the traditions passed down to them from their ancestors. Therefore, they cannot easily be separated from these traditions and their common artistic consciousness, yet they are free to create their own versions of the old traditional designs. In other words, this conformity and unity, while forbidding inventions of unfamiliar and non-traditional designs, does not lead to the production of stereotyped rugs and carpets, rather it gives rise to highly personalized creations marked by a uniqueness that makes it difficult to pair rugs and carpets that are identical in design and color.
The tribal weaver carries her pattern in her mind. Generally speaking, she has worked on predetermined patterns and designs all her life, and has learned that any deviation from it, changes in coloring, irregularities deliberately introduced and other slight alternations are the unconscious attunement of her mental attitude to her daily environment.
Then, of course, the use of birds, animals, flowers, plants and celestial objects in carpet designs have their own symbolism and are governed by regional preferences. These are beyond the scope of this article.
Thus you`ll find the Persian weaver whose family bereavement, say, would find unconscious expression in the free use of white in her pattern, a marriage might give cause for a preponderant employment of brilliant red, a misfortune might be shown by a descending eagle, while hunting scenes in her work with hounds and leopards and cheetahs would indicate the fame, valor and honor of someone deserving allegiance or affection.
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http://leximata.blogspot.gr/2012/09/blog-post_10.html
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