Psicología

Centro MENADEL PSICOLOGÍA Clínica y Tradicional

Psicoterapia Clínica cognitivo-conductual (una revisión vital, herramientas para el cambio y ayuda en la toma de consciencia de los mecanismos de nuestro ego) y Tradicional (una aproximación a la Espiritualidad desde una concepción de la psicología que contempla al ser humano en su visión ternaria Tradicional: cuerpo, alma y Espíritu).

“La psicología tradicional y sagrada da por establecido que la vida es un medio hacia un fin más allá de sí misma, no que haya de ser vivida a toda costa. La psicología tradicional no se basa en la observación; es una ciencia de la experiencia subjetiva. Su verdad no es del tipo susceptible de demostración estadística; es una verdad que solo puede ser verificada por el contemplativo experto. En otras palabras, su verdad solo puede ser verificada por aquellos que adoptan el procedimiento prescrito por sus proponedores, y que se llama una ‘Vía’.” (Ananda K Coomaraswamy)

La Psicoterapia es un proceso de superación que, a través de la observación, análisis, control y transformación del pensamiento y modificación de hábitos de conducta te ayudará a vencer:

Depresión / Melancolía
Neurosis - Estrés
Ansiedad / Angustia
Miedos / Fobias
Adicciones / Dependencias (Drogas, Juego, Sexo...)
Obsesiones Problemas Familiares y de Pareja e Hijos
Trastornos de Personalidad...

La Psicología no trata únicamente patologías. ¿Qué sentido tiene mi vida?: el Autoconocimiento, el desarrollo interior es una necesidad de interés creciente en una sociedad de prisas, consumo compulsivo, incertidumbre, soledad y vacío. Conocerte a Ti mismo como clave para encontrar la verdadera felicidad.

Estudio de las estructuras subyacentes de Personalidad
Técnicas de Relajación
Visualización Creativa
Concentración
Cambio de Hábitos
Desbloqueo Emocional
Exploración de la Consciencia

Desde la Psicología Cognitivo-Conductual hasta la Psicología Tradicional, adaptándonos a la naturaleza, necesidades y condiciones de nuestros pacientes desde 1992.

miércoles, 14 de octubre de 2026

Moisés y Troya con Castillos Medievales: El Enigma de los Códices | Andreu Marfull


<p><iframe allowfullscreen="allowfullscreen" width="640" height="390" src="https://www.inoreader.com/yt-embed/?v=BtYXjoEQMis" referrerpolicy="strict-origin-when-cross-origin" style="width:100%;aspect-ratio:16/9;height:auto;display:block;border:0;" frameborder="0"></iframe></p><p>¿Sabías que los manuscritos bíblicos más antiguos no contenían extensos relatos escritos, sino que eran ilustraciones similares a cómics o «auques» con breves descripciones?<br> En este fragmento, Andreu Marfull analiza los sorprendentes anacronismos presentes en los códices e iluminaciones medievales (como las biblias Hagadá del siglo XIII-XIV). En estas ilustraciones, personajes bíblicos como Moisés, David o Salomón, e incluso los héroes de la Guerra de Troya, son representados con armaduras, escudos, navíos y castillos típicamente medievales, como si de una producción actual estilo Juego de Tronos se tratase.<br> A través de la Nueva Cronología y el análisis iconográfico, Marfull demuestra cómo la historia antigua fue construida y dibujada a partir del contexto visual de la Edad Media.<br> En la asociación Plural 21 promovemos la investigación libre y el pensamiento crítico bajo la cuaterna: VIDA - VERDAD - LIBERTAD - IDENTIDAD. Cuestionar los dogmas historiográficos nos permite recuperar la memoria auténtica de la humanidad.<br> 🌐 Explora más conferencias e investigaciones en nuestra web: <a href="https://www.plural-21.org">https://www.plural-21.org</a><br> 🔔 Suscríbete y activa las notificaciones para no perderte ningún análisis sobre historia, cronología y conciencia. <br> #Shorts #Plural21 #AndreuMarfull #AnacronismosHistoricos #BibliasMedievales #NuevaCronologia #VerdadYLibertad #RevisionHistorica #ManuscritosMedievales #TikTok<br> <br> Recuerda que te puedes hacer socio de Plural 21 en <a href="https://plural-21.org/alta-nuevos-socios">https://plural-21.org/alta-nuevos-socios</a><br> Si quieres hacer alguna aportación a Plural 21 ahora puedes hacerlo a través de diferentes sistemas:<br> - BIZUM. En la opción "Donación a una ONG" utiliza el código: 07672<br> - A través de Youtube podéis: utilizar la herramienta "Gracias/Thanks" de Youtube<br> - a la vieja usanza: podéis hacer una transferencia a "Plural-21 Asociación para el cuidado de la vida en un planeta vivo" Caixa d’Enginyers cuenta nº ES55 3025 0004 3514 3326 6836</p> <p><a href="https://www.youtube.com/shorts/BtYXjoEQMis" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/9jxgAst / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Puente de Santa Ana o puente del Qadí


<p></p><div style="clear:both;text-align:center;"><br></div><br><table style="margin-left:auto;margin-right:auto;"><tbody><tr><td style="text-align:center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-fncSEtU7VdsqGfL-4BngnixoiyUWd0e9jJFgHxuRGkTZD9Wl-_xqr8Zvnzu1wPdmPs3onMU_D5SvTpb81niRVlO-6eFTAz8776nKKi5REEn_74h5EHaSgN-6HR0i2hKO2bDgou9pgXCkimqs2hPf5yrQeNuDyvJQ8csZdM781hsvyarR03N_hdG72hZ/s3729/IMG_4016.jpeg" style="margin-left:auto;margin-right:auto;"><img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-fncSEtU7VdsqGfL-4BngnixoiyUWd0e9jJFgHxuRGkTZD9Wl-_xqr8Zvnzu1wPdmPs3onMU_D5SvTpb81niRVlO-6eFTAz8776nKKi5REEn_74h5EHaSgN-6HR0i2hKO2bDgou9pgXCkimqs2hPf5yrQeNuDyvJQ8csZdM781hsvyarR03N_hdG72hZ/w320-h400/IMG_4016.jpeg" width="320" alt="IMG_4016.jpeg"></a></td></tr><tr><td style="text-align:center;">El embovedado se concluyó con las obras en Arco <br>de arranque del río Darro en Plaza Nueva en el año <br>1880 como aparece inscrito en la clave del arco de <br>arranque, pudiéndolo ver tanto desde el arranque de <br>la Carrera del Darro como desde el atrio de <br>la iglesia de Santa Ana</td></tr></tbody></table><div style="clear:both;text-align:center;"><br></div><div style="text-align:justify;">Bajo el entramado urbano de Granada pervive la memoria de una ciudad atravesada por el río Darro, cuyas aguas condicionaron durante siglos la configuración de sus calles, puentes y espacios públicos. Entre las construcciones históricas vinculadas a este río destaca el puente de Santa Ana, conocido en época nazarí como puente del Cadí.</div><p></p><p style="text-align:justify;">Este puente se localizaba a la altura de la actual calle de los Pisas, donde hoy comienza el embovedado del Darro. Su origen se remonta al siglo XI, cuando fue levantado por iniciativa del cadí —<i>qāḍī</i>, juez musulmán— Ali ibn Muhammad ibn Tawba. De ahí procede su denominación histórica de puente del Cadí, que lo vincula a la Granada islámica anterior al nacimiento del reino nazarí. También fue conocido como puente de los Barberos o <i>al-Hayyamin</i>.</p><p><br></p><table style="margin-left:auto;margin-right:auto;"><tbody><tr><td style="text-align:center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEh0g5_cIyC9sgVaeBajSukopoXKtKflJ0uF2YvZ139B_LKtQF2lyhM81OsYkSptxEGwQBYA_L5n5Kjb9TDIxsdfW2l1WU-D49yyG0pfmFNaMsMCv14ffIc68Pvp1rFF62s8nY3KX9oZ6EqJEtPePG3crdLxMB2hjYEZQEKlh4LJy-qxjM1vTbbtpxWxL/s3734/IMG_4020.jpeg" style="margin-left:auto;margin-right:auto;"><img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEh0g5_cIyC9sgVaeBajSukopoXKtKflJ0uF2YvZ139B_LKtQF2lyhM81OsYkSptxEGwQBYA_L5n5Kjb9TDIxsdfW2l1WU-D49yyG0pfmFNaMsMCv14ffIc68Pvp1rFF62s8nY3KX9oZ6EqJEtPePG3crdLxMB2hjYEZQEKlh4LJy-qxjM1vTbbtpxWxL/w320-h400/IMG_4020.jpeg" width="320" alt="IMG_4020.jpeg"></a></td></tr><tr><td style="text-align:center;">El puente de Santa Ana, que se localizaba a la altura <br>de la calle de los Pisas (donde hoy día se inicia el <br>embovedado), era conocido en época nazarí como <br>puente del Cadí ya que fue levantado por iniciativa <br>del qadí Ali ibn Muhmammad ibn Tawba en el siglo XI</td></tr></tbody></table><br><div style="text-align:justify;"> A lo largo de su historia, el puente tuvo que soportar las frecuentes crecidas del Darro, un río cuyo caudal podía aumentar violentamente durante los episodios de lluvias intensas. Uno de los acontecimientos más graves tuvo lugar en 1478, cuando una gran tormenta provocó una crecida que arrastró numerosos árboles. Estos quedaron atrapados en el puente, formando una especie de dique que dificultó el paso del agua y ocasionó el desbordamiento del río, causando importantes daños en la estructura.</div><div style="text-align:justify;"><br></div><p></p><div style="text-align:justify;">Siglos después, la transformación del paisaje urbano de Granada terminó por ocultar el curso del Darro bajo el embovedado. Las obras que permitieron cubrir este tramo del río concluyeron en 1880, como recuerda la inscripción situada en la clave del arco de arranque del embovedado en Plaza Nueva.</div><div style="text-align:justify;"><div><br></div><div>Aunque el antiguo puente ya no se contempla hoy en su contexto original, su memoria permanece ligada a este lugar histórico. El arco de arranque del embovedado puede observarse tanto desde el inicio de la Carrera del Darro como desde el atrio de la iglesia de Santa Ana, dos puntos desde los que es posible reconocer las huellas de una transformación urbana que modificó para siempre la relación de Granada con su río.</div><div><br></div></div><table style="margin-left:auto;margin-right:auto;"><tbody><tr><td style="text-align:center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3kKal1KbtL-Wi_kpt3eT1Tkbrsd8Ji4Wq-AIxcIycKwdQaBv5sg8bouDZ1ecExxksHpD-E-8likgCMjOM0QfVJOhZZ9ataemQ0j5p2xcp8kpSSfraLeJWM4RRWByNGMgqSO7KqCFblvXX1t2H_O1WFnA_t3i2xTjCV97nva6uqmNliybDVbLT68hr38nO/s3517/IMG_4015.jpeg" style="margin-left:auto;margin-right:auto;text-align:center;"><img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3kKal1KbtL-Wi_kpt3eT1Tkbrsd8Ji4Wq-AIxcIycKwdQaBv5sg8bouDZ1ecExxksHpD-E-8likgCMjOM0QfVJOhZZ9ataemQ0j5p2xcp8kpSSfraLeJWM4RRWByNGMgqSO7KqCFblvXX1t2H_O1WFnA_t3i2xTjCV97nva6uqmNliybDVbLT68hr38nO/w320-h400/IMG_4015.jpeg" width="320" alt="IMG_4015.jpeg"></a></td></tr><tr><td style="text-align:center;">El puente de Santa Ana constituye así un testimonio <br>de la larga historia del Darro y de la evolución <br>de la ciudad desde sus etapas medievales <br>hasta la Granada contemporánea</td></tr></tbody></table> <p><a href="http://legadonazari.blogspot.com/2026/10/puente-de-santa-ana-o-puente-del-qadi.html" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/9jxgAst / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Jean Borella (1930–2026)


<div> <div><div>The passing of Jean Borella on October 11, 2026, at the age of 96, marks the end of an exceptional philosophical journey. Little known to the general public, this French thinker leaves behind a substantial body of work whose significance extends far beyond the boundaries of religious philosophy and Christianity. <p>Jean Borella’s work has been referenced several times in this journal, and <i><em>Sacred Web</em></i> Volume 17 (Summer 2006) included a lengthy review essay by him titled ‘The Problematic of the Unity of Religions’ (translated into English from the French by John Champoux) as an Afterword to Bruno Bérard’s <i><em>Introduction à une métaphysique des mystères chrétiens (2005</em></i>), in which Borella explores the limitations of the Traditionalist idea of the “transcendent unity of religions,” and outlines his own view of an analogical rather than identical unity among faith traditions.</p><p>In this retrospective, Bruno Bérard briefly outlines Jean Borella’s intellectual journey, his philosophical legacy, and his contribution to Traditional thought.</p></div></div><p><strong>An Education Between Western Philosophy and Eastern Wisdom</strong></p><p>Jean Borella was born on May 21, 1930, in Nancy, Lorraine, into a Catholic family. His father, a military aviator of Italian descent, died in an accident in 1937. His mother gave him a Christian upbringing that would remain one of the foundations of his intellectual and spiritual life.</p><p>From an early age, he showed an interest in philosophical and religious questions. As an adolescent, he discovered Descartes and Pascal, whose reflections on God, truth, and the human condition helped awaken his philosophical vocation.</p><p>At the University of Nancy, several intellectual encounters would prove decisive.</p><p>Georges Vallin introduced him to the metaphysics of Vedānta and the great perspectives of Eastern thought. Guy Bugault introduced him to Platonic philosophy and the Indian traditions. Raymond Ruyer, a philosopher of nature and consciousness, opened up other horizons, particularly concerning the relationships between reality, meaning, and intelligibility.</p><p>The breadth of this education was remarkable. It brought together Western philosophy, Greek thought, Eastern traditions, and a constant questioning of the foundations of knowledge.</p><blockquote>Borella would never be merely a commentator on Guénon or Schuon. His deepening understanding of the Christian mystery would gradually lead him to reconsider certain fundamental aspects of their teachings.</blockquote><p>In 1953, Borella obtained his degree in philosophy and discovered the writings of René Guénon. This reading marked a decisive stage: it offered him a metaphysical perspective capable of unifying intuitions that had previously remained scattered.</p><p>He subsequently deepened his knowledge of Frithjof Schuon's work, particularly his doctrine of the transcendent unity of religions, of which he would later develop a thorough critique.</p><p>These early influences, however, should not obscure the originality of his intellectual journey. Borella would never be merely a commentator on Guénon or Schuon. His deepening understanding of the Christian mystery would gradually lead him to reconsider certain fundamental aspects of their teachings.</p><p>Having passed the <em>agrégation</em> in philosophy in 1960, he taught philosophy and literature in the preparatory classes in Nancy from 1962 to 1977, and subsequently metaphysics and the history of ancient and medieval philosophy at the University of Nancy-II until his retirement in 1995.</p><p>In 1982, he defended a <em>doctorat d'État</em> at the University of Paris-Nanterre, under the supervision of Paul Ricœur, devoted to the metaphysical foundations of sacred symbolism. This research would give rise, in particular, to two of his major works: <em>Histoire et théorie du symbole</em> (“History and Theory of the Symbol,” not published in English) and <em>The Crisis of Religious Symbolism</em>.</p><p>The encounter with René Guénon's thought is essential to understanding Borella's intellectual development.</p><p>Guénon had sought to demonstrate that modern civilization rested upon a progressive reduction of intelligence to discursive reason, knowledge to its empirical modalities, and reality to its quantitative aspects.</p><p>Against this reduction, he set the traditional metaphysical doctrines, founded upon the possibility of a supra-rational knowledge of universal principles.</p><p>Borella would permanently recognize the importance of this critique. He shared Guénon's conviction that human intelligence cannot be confined within the limits imposed upon it by modern rationalism.</p><p>He also shared with Schuon the view that the great religious traditions possess a metaphysical depth irreducible to their merely historical or moral expressions.</p><p>Nevertheless, his intellectual journey led him to raise a particular question: does the traditional metaphysical perspective allow us to understand fully the specificity of Christian revelation?</p><blockquote>He considered that certain formulations of Guénonian esoterism risked subordinating Christian revelation to a metaphysical doctrine presumed to be more universal than revelation itself.</blockquote><p>Borella's answer became progressively more nuanced.</p><p>He considered that certain formulations of Guénonian esoterism risked subordinating Christian revelation to a metaphysical doctrine presumed to be more universal than revelation itself.</p><p>For him, Christianity was not simply one religious form among others, whose deepest truth had to be sought in an esoterism external to its own revelation.</p><p>The mystery of Christ, the Incarnation, the Trinity, grace, and the sacraments possess their own metaphysical intelligibility.</p><p>This conviction explains his endeavor to conceive an authentically Christian gnosis, one that would be neither a secret doctrine opposed to faith nor an intellectual knowledge independent of revelation.</p><p>His critique of certain Guénonian and Schuonian positions therefore represented not an abandonment of traditional metaphysics, but a reassessment of some of its formulations in the light of the specific demands of Christian revelation.</p><p>The significance of this approach is considerable: it demonstrates that Tradition cannot be reduced to the repetition of doctrinal formulations, however eminent they may be.</p><p>Genuinely traditional thought must remain capable of questioning its own expressions in the light of the principles it acknowledges.</p><h3><strong>The Symbol: An Ontological Reality, Not Merely a Representation</strong></h3><p>One of Jean Borella's most original contributions lies in his metaphysics of the symbol.</p><p>Modern thought tends to regard the symbol as a sign to which the human mind assigns a meaning. The symbol is understood as representing an absent reality, without truly participating in what it signifies.</p><p>Borella reverses this perspective.</p><blockquote>For Borella, the symbolic relationship pertains not only to signification, but also to being.</blockquote><p>For him, the authentic symbol is not merely a mental or cultural construction. It manifests, according to its own order, a reality that transcends it.</p><p>In other words, the symbolic relationship pertains not only to signification, but also to being.</p><p>This conception rests upon the traditional doctrine of participation and upon metaphysical analogy: sensible realities can manifest intelligible principles because the different levels of reality are not radically alien to one another.</p><p>The world thus possesses a symbolic depth that is not added by human beings but belongs to its very structure.</p><p>This perspective makes it possible to renew our interpretation of religious symbols, rites, sacred art, and traditional cosmology.</p><p>It also helps explain why the loss of symbolic understanding is one of the most profound characteristics of modernity.</p><p>In <em>The Crisis of Religious Symbolism</em>, Borella shows that this loss results not merely from cultural impoverishment or the disappearance of traditional knowledge.</p><p>It arises from a more radical transformation of our conception of reality.</p><p>When the world is no longer perceived as anything more than a collection of material objects, the symbol can appear only as a subjective representation.</p><p><em>To rehabilitate the symbol is therefore necessarily to rehabilitate metaphysics itself.</em></p><h3><strong>Reason, Intellect, and Spiritual Knowledge</strong></h3><p>The metaphysics of the symbol naturally leads to an inquiry into knowledge.</p><p>Borella carefully distinguishes discursive reason from metaphysical intellect.</p><p>Reason proceeds through concepts, distinctions, and demonstrations. It is indispensable to philosophy and possesses its own legitimacy.</p><p>Yet it always presupposes an intelligibility that it does not itself produce.</p><blockquote>Authentic gnosis is not the intellectual possession of God, but a participation in divine truth.</blockquote><p>The intellect, in its metaphysical sense, designates that fundamental capacity of the human spirit to apprehend intelligible principles intuitively, prior to their discursive elaboration by reason.</p><p>The point, therefore, is not to oppose some vague intuition to rational rigor, but to recognize that reason does not exhaust our possibilities of knowledge.</p><p>This distinction brings Borella close to the great Platonic and Neoplatonic tradition, as well as to certain fundamental insights of the <em>philosophia perennis</em>.</p><p>Above all, it enables him to overcome an opposition characteristic of modernity: that between a supposedly autonomous reason and a faith reduced to subjective belief.</p><p>For Borella, faith and intellect are not two alien domains.</p><p>Faith opens onto a truth that the intellect is called to contemplate and deepen.</p><p>It is within this perspective that his defense of Christian gnosis acquires its meaning.</p><p>The term <em>gnosis</em> does not refer here to historical Gnosticism, with its particular doctrines, but to a spiritual knowledge of God, intrinsic to the Christian tradition itself and deeply rooted in the New Testament, both in St. Paul and in the Gospels, particularly that of John.</p><p>Such knowledge abolishes neither faith, nor grace, nor the sacraments, nor the spiritual life. Rather, it reveals their contemplative vocation.</p><p><em>Authentic gnosis is not the intellectual possession of God, but a participation in divine truth.</em></p><h3><strong>Love as the Fulfillment of Knowledge</strong></h3><p>It would nevertheless be insufficient to present Borella's philosophy as merely a theory of metaphysical knowledge.</p><p>Love occupies an essential place in his work.</p><p>As early as <em>La Charité profanée</em>, published in 1979 and later republished under the title <em>Amour et Vérité</em> (English translation: <em>Love &amp; Truth: The Christian Path of Charity</em>), he sought to demonstrate that Christian charity cannot be reduced to a moral sentiment, humanitarian benevolence, or a simple ethical obligation.</p><p>Love possesses a metaphysical significance.</p><blockquote>metaphysical truth is not an object to be possessed, but a reality in which one participates.</blockquote><p>Where discursive reason distinguishes in order to understand, love unites without abolishing distinction. Yet this union does not suppress intelligibility; on the contrary, it reveals its ultimate depth.</p><p>This perspective finds its supreme expression in the mystery of the Trinity, where divine unity and the distinction of the Persons do not exclude one another.</p><p>It also allows us to understand why spiritual knowledge cannot find its fulfillment in the intellectual mastery of its object.</p><p>To know truly implies an openness to what is known, and this openness reaches its fullness in love.</p><p>Thus, intellect and love do not constitute two independent paths. They manifest two complementary dimensions of the relationship between the human spirit and truth.</p><p>This articulation represents, in my view, one of Borella's most profound contributions to traditional metaphysics: <em>supreme knowledge cannot be separated from love, for metaphysical truth is not an object to be possessed, but a reality in which one participates.</em></p><h3><strong>The Man Behind the Philosopher</strong></h3><figure><img src="https://storage.ghost.io/c/26/b5/26b5a426-214e-4897-b490-fa1deaa9b7ae/content/images/2026/10/IMG_1853-1.jpeg" alt="" width="500"></figure><p>A philosophical work of such breadth might lead one to imagine a thinker enclosed within his own intellectual constructions.</p><p>Yet Jean Borella was a man of great simplicity, whose depth often manifested itself with discretion.</p><p>I remember, in particular, our first meeting at his home in Nancy.</p><p>At the time, I was working on the relationships between Christian metaphysics and the great spiritual traditions. To organize these complex questions, I naturally resorted to diagrams and conceptual representations.</p><p>Jean then made a remark that I have never forgotten.</p><p>Diagrams, he explained, can help us understand, at least partially. But we must then know how to forget them; otherwise, they risk imprisoning thought and preventing us from “thinking further.”</p><blockquote>Concepts are necessary, but they are not reality. … in him, intellectual depth was inseparable from genuine attentiveness to others.</blockquote><p>This observation, expressed so simply, admirably sums up his philosophy.</p><p>Concepts are necessary, but they are not reality. Systems may illuminate truth, but none can ever exhaust it.</p><p>The intellect must know how to make use of its own constructions without ever becoming their prisoner.</p><p>Another characteristic of Jean was his faithfulness in friendship.</p><p>Our exchanges depended neither on frequent meetings nor on geographical proximity. They continued mainly at a distance, through telephone conversations that were sometimes brief, but which continued until the final period of his life.</p><p>This discreet presence revealed something essential: in him, intellectual depth was inseparable from genuine attentiveness to others.</p><p><em>The love whose metaphysical function he emphasized was not merely a doctrine. It was also a way of life.</em></p><h3><strong>Jean Borella's Place in the History of the Traditionalist School</strong></h3><p>How, then, should Jean Borella be situated within the intellectual history of Tradition?</p><p>He unquestionably belongs to that family of thinkers who, during the twentieth century, challenged the rationalist and materialist limitations of modernity and reaffirmed the possibility of metaphysical knowledge.</p><p>In this respect, his work extends certain essential insights of Guénon and Schuon.</p><p>Yet it also differs from theirs on several fundamental points.</p><p>First, Borella accords a decisive place to philosophical inquiry as such. Whereas Guénon sometimes tends to oppose traditional metaphysics to Western philosophy, Borella seeks to show that the latter, particularly in its Platonic, Neoplatonic, and Christian expressions, contains authentic metaphysical resources.</p><p>Second, his philosophy of the symbol provides traditional thought with a particularly rigorous ontological elaboration. He does not merely affirm the spiritual value of symbols: he seeks to establish the metaphysical conditions of their reality.</p><blockquote>Each revelation possesses a depth of its own, and metaphysical universality cannot be achieved at the cost of erasing this singularity.</blockquote><p>Finally, his reflection on Christian gnosis shows that a religious tradition cannot be understood solely through general categories external to it.</p><p>Each revelation possesses a depth of its own, and metaphysical universality cannot be achieved at the cost of erasing this singularity.</p><p>In this sense, Borella calls traditional thought to meet an additional requirement: not to confuse the universality of principles with the uniformity of their expressions.</p><p>This position may give rise to debate among readers of Guénon and Schuon. Nevertheless, it constitutes an essential contribution to the intellectual vitality of the Traditionalist School.</p><p>For a philosophical tradition remains alive when it is capable of continuing to deepen its understanding, rather than merely repeating the formulations of its masters.</p><p>Jean Borella is therefore not simply a Christian representative of perennialism: <em>he is a metaphysician who questioned certain of its presuppositions by drawing upon the resources proper to Christian revelation and the Christian intellectual tradition.</em></p><h3><strong>A Legacy Yet to Be Discovered</strong></h3><p>Jean Borella's body of work is substantial, yet its reception remains relatively limited, particularly in the English-speaking world. Although several of his books are now available in English translation, comprehensive studies devoted to his thought remain rare. Among them are <em>A Metaphysics of the Christian Mystery: An Introduction to the Work of Jean Borella</em>, by Bruno Bérard, and <em>The Secret of the Christian Way: A Contemplative Ascent Through the Writings of Jean Borella</em>, a selection of Borella’s key writings, edited by John Champoux, with a foreword by Wolfgang Smith.</p><p>This situation contrasts with the importance of the questions he addressed.</p><p>The nature of the intellect, the reality of the symbol, the relationships between philosophy and revelation, the possibility of spiritual knowledge, the unity and diversity of religious traditions, and the place of love in metaphysics: all these questions remain central to contemporary intellectual inquiry.</p><p>His books, including <em>The Crisis of Religious Symbolism</em>, <em>Christ the Original Mystery: Esoterism and the Mystical Way</em>, <em>The Truth of Christian Gnosis</em>, and <em>Love &amp; Truth: The Christian Path of Charity</em>, represent successive stages in a remarkably coherent intellectual quest.</p><p>The collective volume <em>Jean Borella pour tous</em> (“Jean Borella for Everyone”), published in 2025 on the occasion of his ninety-fifth birthday, with an American edition planned by Angelico Press, bears witness to the desire to make his thought more accessible to new readers.</p><figure><img src="https://storage.ghost.io/c/26/b5/26b5a426-214e-4897-b490-fa1deaa9b7ae/content/images/2026/10/IMG_1850.jpeg" alt="" width="337"></figure><p>Yet much remains to be done, particularly to encourage the discovery of his work beyond the French-speaking world.</p><p>His legacy consists not merely of a series of philosophical theses, however important they may be.</p><p>It lies perhaps even more profoundly in a certain conception of human intelligence: an intelligence that is not condemned to remain imprisoned within its own representations, but is capable of opening itself to what transcends it.</p><p>Jean Borella thus reminds us that metaphysics is not an abstract speculation about an inaccessible world. It is an inquiry into the ultimate truth of what <em>is</em>, into the possibility of knowing that truth, and into the way such knowledge transforms our relationship with existence.</p><p>For the readers of <em>Sacred Web</em>, Jean Borella's work thus represents far more than another contribution to traditional thought. It is an invitation to pursue its further deepening without freezing it into a doctrinal system; to recognize the universality of metaphysical principles without effacing the singularity of revelations; and to rediscover, at the very heart of intellectual inquiry, that openness to truth which is inseparable from the spiritual life.</p><p>For this is perhaps Jean Borella's most enduring lesson: <em>Tradition is not a collection of formulations that need merely to be preserved, but a living truth that the intellect is called to recognize, contemplate, and deepen. To think ever further, without forgetting that knowledge finds its fulfillment in love.</em><br></p> </div> <p><a href="https://www.sacredweb.com/spiritual-figures/jean-borella-1930-2026/" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/9jxgAst / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Desde el silencio


<img style="clear:right;margin:5px auto 20px;" src="https://www.nodualidad.info/imagen/libros/desde-el-silencio.jpg" width="250" alt="desde-el-silencio.jpg"> Desde las altas cumbres nos llegan noticias del silencio. Un silencio elocuente en el que resuena una discreta invitación a andar el camino que nos remite al propio corazón: «Si me buscáis, buscadme en el silencio, en el silencio de vuestro corazón. Ahí me encontraréis»... Con estas palabras se despedía de la Escuela del Silencio y de sus amigos Moratiel, «el discípulo del silencio» que fue para muchos el maestro y el hermano. Él, desde la plenitud de este Silencio hacia el que peregrinó durante toda su vida, nos anima en estas páginas a «vivir el instante presente sin sobresaltos»; a «entrar en el silencio... <p><a href="https://www.nodualidad.info/libros/desde-el-silencio.html" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/9jxgAst / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Covid persistente


<p><iframe allowfullscreen="allowfullscreen" width="640" height="390" src="https://www.inoreader.com/yt-embed/?v=uOSxxQPEvFI" referrerpolicy="strict-origin-when-cross-origin" style="width:100%;aspect-ratio:16/9;height:auto;display:block;border:0;" frameborder="0"></iframe></p><p>¿Recuerdan ustedes el trailer inicial del debate que tuve hace un año con mi colega Fran sobre las vacunas COVID? Les dije claramente: no es covid persistente, son los efectos secundarias de vacunas innecesarias. Y ya empieza a salir, camuflado en las fechas y datos, lo que estamos viendo en todas las áreas de la patología médica, desde neumología hasta cardiología o reuma pasando por hematología y digestivo. Todas. Porque el desastre se ceba en el sistema inmunológico, que no sólo radica en los glóbulos blancos sino también en el conjunto de bacterias que llevamos encima y que otrora velaban por nuestra salud.</p> <p><a href="https://www.youtube.com/watch?v=uOSxxQPEvFI" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/85vkxU7 / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Autumn with Bach - Classical Music | Sonatas, Concertos, Preludes...


<p><iframe allowfullscreen="allowfullscreen" width="640" height="390" src="https://www.inoreader.com/yt-embed/?v=0Bs1A7x2fyY" referrerpolicy="strict-origin-when-cross-origin" style="width:100%;aspect-ratio:16/9;height:auto;display:block;border:0;" frameborder="0"></iframe></p><p>There’s a quiet nobility in Johann Sebastian Bach’s music that feels made for autumn. His melodies move with the same calm patience as falling leaves, unfolding slowly, revealing their beauty note by note. This carefully curated collection brings together Bach’s most beautiful sonatas, concertos, and preludes, perfect for golden afternoons, candlelit evenings, and the gentle hush of a world winding down. From the mathematical grace of his keyboard works to the tender depth of his violin sonatas and the timeless brilliance of his concertos, every piece feels like a conversation with something ancient and wise. Whether you’re wrapped in a blanket by the window, sipping something warm, or simply savoring the beauty of shorter days, let Bach become the gentle soundtrack to your autumn hours. 🍂🎼🌿<br> <br> <br> 📌𝐃𝐨𝐰𝐧𝐥𝐨𝐚𝐝 𝐄𝐬𝐬𝐞𝐧𝐭𝐢𝐚𝐥 𝐂𝐥𝐚𝐬𝐬𝐢𝐜𝐬 𝐀𝐩𝐩: <a href="https://app.essential-classics.com/">https://app.essential-classics.com/</a><br> <br> 🟢 Follow us and our playlists on Spotify:<br> <a href="https://open.spotify.com/user/cugate-music?si=2d9adbc210b64a2b">https://open.spotify.com/user/cugate-music?si=2d9adbc210b64a2b</a><br> <br> 👉 Listen to classical music on other streaming platforms. The links are below: <br> <br> 📌 𝐓𝐡𝐞 𝟏𝟎𝟎 𝐁𝐞𝐬𝐭 𝐎𝐟 𝐂𝐥𝐚𝐬𝐬𝐢𝐜: <a href="https://lnk.to/Various-Artists-The-100-Best-Of-Classic-Volume-2">https://lnk.to/Various-Artists-The-100-Best-Of-Classic-Volume-2</a><br> 📌 𝐁𝐞𝐬𝐭 𝐨𝐟 𝐃𝐞𝐛𝐮𝐬𝐬𝐲: <a href="https://lnk.to/Various-Artists-Best-of-Debussy">https://lnk.to/Various-Artists-Best-of-Debussy</a><br> 📌 𝐁𝐞𝐬𝐭 𝐨𝐟 𝐇𝐚𝐧𝐝𝐞𝐥: <a href="https://lnk.to/Various-Artists-Best-of-Handel">https://lnk.to/Various-Artists-Best-of-Handel</a><br> <br> 𝐏𝐋𝐀𝐘𝐋𝐈𝐒𝐓<br> --------------------<br> 00:00:00 Violin Sonata in C Minor, BWV 1017: I. Siciliano. Largo (1)<br> 00:05:21 Violin Sonata in F Minor, BWV 1018: I. Largo (1)<br> 00:12:58 Brandenburg Concerto No. 1 in F Major, BWV 1046: II. Adagio (2)<br> 00:14:58 Brandenburg Concerto No. 2 in F Major, BWV 1047: II. Andante (2)<br> 00:18:45 Brandenburg Concerto No. 4 in G Major, BWV 1049: I. Allegro (excerpt) (2)<br> 00:21:45 Brandenburg Concerto No. 4 in G Major, BWV 1049: II. Andante (2)<br> 00:25:46 Brandenburg Concerto No. 5 in D Major, BWV 1050: II. Affettuoso (2)<br> 00:28:47 Orchestral Suite No. 2 in B Minor, BWV 1067: III. Sarabande (3)<br> 00:31:39 Orchestral Suite No. 2 in B Minor, BWV 1067: IV. Bourree I/II (3)<br> 00:34:30 Orchestral Suite No. 2 in B Minor, BWV 1067: V. Polonaise (3)<br> 00:37:52 Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie (3)<br> 00:39:19 Violin Concerto No. 1 in A Minor, BWV 1041: I. Allegro moderato (4)<br> 00:43:24 Violin Concerto No. 1 in A Minor, BWV 1041: III. Allegro assai (4)<br> 00:47:18 Violin Concerto No. 2 in E Major, BWV 1042: I. Allegro (4)<br> 00:49:55 Violin Concerto No. 2 in E Major, BWV 1042: II. Adagio (4)<br> 00:52:25 Violin Sonata in C Minor, BWV 1017: II. Allegro (1)<br> 00:57:21 Violin Sonata in C Minor, BWV 1017: III. Adagio (1)<br> 01:01:13 Violin Sonata in C Minor, BWV 1017: IV. Allegro (1)<br> 01:06:29 Violin Sonata in F Minor, BWV 1018: II. Allegro (1)<br> 01:11:23 Violin Sonata in F Minor, BWV 1018: III. Adagio (1)<br> 01:15:09 Violin Sonata in F Minor, BWV 1018: IV. Vivace (1)<br> 01:17:58 Violin Sonata in G Major, BWV 1019: II. Largo (1)<br> 01:20:02 Violin Sonata in G Major, BWV 1019: IV. Adagio (1)<br> 01:24:03 Violin Sonata in G Major, BWV 1019: V. Allegro (1)<br> 01:27:33 Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante (4)<br> 01:33:37 Organ Concerto in D Minor, BWV 596 “After Vivaldi”: 1. Allegro - Grave - Fuga (excerpt) (5)<br> 01:36:39 Choral Prelude “Herzlich tut mich verlangen”, BWV 727 (5)<br> 01:39:42 Erbarm dich mein, o Herre Gott, BWV 721 (6)<br> 01:44:21 Concerto in D Minor, BWV 974: II. Adagio (5)<br> 01:48:21 Prelude and Fugue in F Major, BWV 556 (6)<br> 01:51:04 Prelude and Fugue in A Minor, BWV 559 (6)<br> 01:54:06 Concerto for 2 Violins in D minor, BWV 1043: II. Largo Ma Non Tanto (4)<br> 02:00:25 4 Duettos, BWV 802-805: 1. Duetto in E Minor, BWV 802 (7)<br> 02:02:53 Ave Maria (8)<br> 02:07:56 Concerto for 2 Pianos and Orchestra, BWV 1060: II. Adagio (9)<br> 02:14:17 Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo (10)<br> 02:17:34 Harpsichord Concerto No. 5 in F Minor, BWV 1056: I. Allegro (10)<br> <br> 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐞𝐫𝐬<br> ----------------------<br> (1) Sankt Peters Trio<br> (2) Saint Petersburg Orchestra Opera<br> (3) Orchestra New Philharmony Saint Petersburg<br> (4) Orchestra Mozarteum<br> (5) Leonidas Melnikas<br> (6) Bernardas Vasiliauskas<br> (7) Elisso Bolkvadze<br> (8) Roman Perucki<br> (9) Saint Petersburg Orchestra Classic Music Studio<br> (10) Lithuanian Chamber Orchestra<br> <br> <br> Please follow and subscribe to our channel. We appreciate your support.<br> <br> 🔔 Click the bell to stay updated on the great classical songs <br> <br> 📧 <a href="mailto:info@cugate.com">info@cugate.com</a><br> 🌐 <a href="http://www.cugate.com">www.cugate.com</a><br> <br> 🎧 Essential Classics is dedicated to sharing and promoting classical music. We strive to present the best classical music for you! Our hope is to make your days more beautiful and peaceful with classical music. <br> <br> All audio and visual content on Essential Classics is created by Cugate AG a well-known music company. We have all legal rights of the audiovisual materials used in this video and our music is protected by copyright laws. If you have any questions regarding copyright or cooperation, please contact us.<br> <br> #classicalmusic</p> <p><a href="https://www.youtube.com/watch?v=0Bs1A7x2fyY" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/85vkxU7 / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>

Chopin: Mazurka in A minor, Op. posth. (À Émile Gaillard), B. 140 | Nikolai Demidenko, piano


<p><iframe allowfullscreen="allowfullscreen" width="640" height="390" src="https://www.inoreader.com/yt-embed/?v=zbTXydZ3f1M" referrerpolicy="strict-origin-when-cross-origin" style="width:100%;aspect-ratio:16/9;height:auto;display:block;border:0;" frameborder="0"></iframe></p><p>Chopin’s Mazurka in A minor (À Émile Gaillard), B. 140 is a relatively lesser-known work that combines the rhythmic character of Polish dance with a playful and at times almost exotic musical language. Here it's performed by piano soloist Nikolai Demidenko in 2010 at a gala concert in the Warsaw Philharmonic Concert Hall on the occasion of the composer's 200th birthday. Demidenko has a particularly strong connection with the works of Chopin, having performed and recorded them throughout his career.<br> <br> Frédéric Chopin (1810–1849) composed this mazurka in 1840 during his years in Paris when he was developing some of his most unique and sophisticated approaches to piano writing. Although he had left Poland following the November Uprising of 1830, Polish musical traditions remained central to his identity as a composer. The mazurka, rooted in Polish folk dance, became one of the principal genres through which he explored his cultural heritage. Drawing on the rhythms and characteristic accents of dances such as the mazur, kujawiak and oberek, Chopin transformed a traditional dance form into a highly personal genre, combining folk-inspired elements with the expressive possibilities of Romantic piano music. This particular mazurka was dedicated to his friend Émile Gaillard and was published in 1841 in the collection "Album de pianistes polonais." Unlike many of Chopin’s mazurkas, it was published independently. <br> <br> With its Allegretto marking, Chopin’s A minor Mazurka, B. 140, has a character quite different from the deeply melancholic atmosphere typically associated with his music in this key. The opening theme has a lively, distinctive rhythmic profile, with melodic turns and harmonic colors that give it an almost Spanish flavor. Rather than presenting the mazurka as a straightforward folk dance, Chopin plays with its rhythmic conventions, creating a sense of spontaneity, lightness, and subtle humor. A contrasting passage featuring a right-hand melody in octaves gives a fuller sound while still supporting the piece's buoyancy. The result is a compact but highly individual composition in which the traditional dance form becomes a vehicle for Chopin's experimentation with harmonics.<br> <br> Pianist Nikolai Demidenko has made several major Chopin recordings, including the composer's 24 Preludes. Critics have praised Demidenko’s distinctive approach to Chopin’s sound and pedaling, saying that his performances often emphasize rhythmic definition and individual character rather than excessive sentimentality.</p> <p><a href="https://www.youtube.com/watch?v=zbTXydZ3f1M" target="_blank">- Enlace a artículo -</a></p> <p>Más info en https://ift.tt/85vkxU7 / Tfno. & WA 607725547 Centro MENADEL (Frasco Martín) Psicología Clínica y Tradicional en Mijas. #Menadel #Psicología #Clínica #Tradicional #MijasPueblo</p> <p>*No suscribimos necesariamente las opiniones o artículos aquí compartidos. No todo es lo que parece.</p>