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Scarabocchio FOOTNOTES

[1] By Quantum Genre I mean artistic works that are not theme-based but style-based. In other words, Quantum Works are not about quantum theory but quantum representation of characters and their worlds. The style is distinguished by a high degree of obscurity of both the narrative and characters which are subject to mutability and ambiguity. More about my definition of Quantum Genre read Sein & Werden, http://www.kissthewitch.co.uk/seinundwerden/3_2/page37.html
[2] The expression belongs to Nabokov's character, Humbert Humbert.
[3] The Idea of North: Summary. Quoted from
[4] Joseph Roddy, "Profiles: Apollonian". New Yorker. Vol. 36, no. 13 (May 14, 1960). P. 51-93
[5] Glenn Gould , Glenn Gould about Glenn Gould. In  "High Fidelity," February 1974.Quoted from

[6] Vladimir Nabokov, Lolita. Quoted from http://www.mylit.net/library/books/153/5790/
[7] Da Capo Press edition, p. 426. John Oxenford translation.
[8] By this I imply Glen Gould's interview with glenn gould.
[9] Zemplen Gabor, Form as Movement in Goethe's 'Metamorphosis of Plants'.
[10] Ibid.
[11] Ibid.
[12] Ibid.
[13] Ibid.
[14] Ibid.
[15] Alfred G. Steer Jr. writes: "the story "The Nut-Brown Girl," "with its introduction, is certainly concerned with the urge, the attraction that leads one individual to center his attentions on a certain woman." In Goethe's words, its passion out of conscience". (Alfred G. Steer Jr., Goethe's Science in the Structure of the Wanderjahre . University of Georgia Press, 2008, p. 43)
[16] Vera Zubarev, A Systems Approach to Literature: Mythopoetics of Chekhov's Four Major Plays.                  
Greenwood Press, p.16
[17] Zemplen Gabor, Form as Movement in Goethe's 'Metamorphosis of Plants'.
[18] Peter F. Ostwald, Glenn Gould: The Ecstasy and Tragedy of Genius. W. W. Norton & Company, 1998. P. 258
[19] The Prince admits to the Old Lady, "…for so unblessed are her bright eyes, that they take from every living creature they look on all its force, and those whom the touch of her hand does not kill are changed to the state of shadows wandering alive." Johann Wolfgang von Goethe, The Fairy Tale of the Green Snake and the Beautiful Lily. Translated by Thomas Carlyle (1832). eText by John Roland Penner, Oct. 2000.
http://wn.rsarchive.org/RelAuthors/GoetheJW/GreenSnake.html Passages from the text of Goethe's tale in this article will henceforth be designated with the title.
[20] Kevin Bazzana, Wondrous strange: the life and art of Glenn Gould. Oxford University Press US, 2005. P.198
[21] Brian Bethune, Maclean's June 23, 2008.
[22] The Fairy Tale of the Green Snake and the Beautiful Lily
[23] Conversations with Eckermann by Johann Wolfgang von Goethe, 1848. Quoted from
[24] Kenneth Burke states that "amphisbaena" is the grammar itself: when in Libation-Bearers the messenger tells Clytemnaestra, "The dead are killing the living," Clytemnaestra "sells" it to others as a riddle. In Greek grammar, however, "it can be interpreted in reverse, 'The living is killing the dead' " and Clytemnaestra is quite aware of it. Kenneth Burke Essays Toward a Symbolic of Motives, 1950-1955. Parlor Press, 2007. P.108
[25] About my interpretation of Goethe's fairytale read my article, "Apollo the Integrated: Regarding Mythopoetics of A Story
about the Green Serpent and the Beautiful Lily."
[26] According to Kabbalah, the first nine sephirot are combined in triads, each of which is represented by a different type of the soul: intellectual ( Neshamah),  emotional (Ruah), and the soul ascribed to man's animal nature (Nefesh). The harmony of the nine sephirot is achieved when the triads are integrated through the tenth sephirah, Malkut, that means The Gate of Death.

[27] "Sephira" means "sapphire" in Hebrew and it symbolizes the divine radiance.
[28] On positional and combinational sacrifices in the game of chess read Aron Katsenelinboigen, The Concept of Indeterminism & Its Applications; Economics,| Social Systems, Ethics, Artificial Intelligence & Aesthetics. Westport: Greenwood Publishing Group, 1997, pp. 59-72, and also, License for Sublectivity.
[29] Johann Peter Eckermann, Conversations with Goethe. October 11, 1828 http://wisdomportal.com/Eckermann(10-11-1828).html Later, Eckermann supplemented Goethe's statement with his own assumptions. "And, rightly regarded, is not this the case with everything extraordinary? Is Mozart, is Raphael popular? and is not the relation of the world toward these great fountains of overflowing spiritual life like that of some dainty person, who is pleased now and then to snatch up a little that may for a while afford higher enjoyment. … Yes … Goethe is right. He cannot be popular to his full extent; his works are only for individuals who desire something congenial, and whose pursuits are like his own. They are for contemplative natures, who wish to penetrate into the depths of the world and human nature, and follow in his path. … His works are for the artist, inasmuch as they enlighten his mind generally, and teach him particularly what subjects are suited to works of art … They are for observer of nature, not only because great laws are discovered and taught him, but, still more, because they give him the method by which the intellect must proceed with nature to make her reveal her mysteries. In short, all those who are making efforts in science or art, may be guests at the richly-provided banquet of his works, and in their productions bear witness to the great general source of light and life from which they have drawn." Ibid.