The Library as a rhizomorphic paradoxical labyrinth (based on the works of J.L. Borges and U. Eco)

Markova Elizaveta Vladimirovna ORCID: 0009-0009-6682-2000 Postgraduate student, Department of Socio-Political Communications, National Research Nizhny Novgorod State University named after N. I. Lobachevsky 23 Gagarin Ave., Nizhny Novgorod, Nizhny Novgorod region, 603022, Russia markovaev11@yandex.ru Other publications by this author

Introduction

The rhizome and the concept of the modern labyrinth (Rhizom Moderna) attract the attention of scientists with the concept of potential. Signs of a potential rhizome concept manifest themselves in many spheres of life, including history and culture. The postmodern concept of the rhizome is actively studied, its concept is widely discussed by foreign and domestic scientists, philosophers ^{[10; 31; 42]}, sociologists ^{[2; 17; 44]}, historians and political scientists ^{[19; 34; 40]}, cultural and art historians ^{[8; 28; 38]}, teachers ^{[35; 36 37]}, jurists ^{[4; 7; 16]}, anthropologists ^{[9; 22; 24]}.

Rhizome is a concept of the postmodern philosophy of a nonlinear way of building a whole with the possibility of mobility and auto–tuning. This is an immutable variation of an unclosed, mobile structure of a nonlinear type. The rhizome is not a root system, it resembles an open bulb stem, multiplying the degree of boundaries without restrictions ^{[26; 41]}.

The metaphors of structuring the whole, the symbols of the ordered universe of the world order with the core are the trees of the world, life, and knowledge. The rhizome differs from the order of the tree in that it allows you to connect any points to each other. The causal movement with a single center is at the heart of the rhizome, and it is directed from the root to the trunk or branches. First it spreads to the roots and leaflets, and then it covers everything else. The roots of the rhizome are devoid of a rod and have freedom of growth in any direction, which can lead to their disappearance. Rhizomorphism means the creation of branches and fibers that are roots when penetrating into the trunk or the emergence of new unusual forms. The rhizome line can suddenly and unexpectedly connect with another line. The world of rhizome is a world of elusive possibilities, where new words, meanings and images appear. The list of rhizome models, having a universal character, is clearly entrenched in historical and cultural contexts. At the same time, all new rhizome environments are formed. 

The interdisciplinarity of the concept of rhizome makes it possible to vary the approach to the problems under discussion. In the context of disciplinary knowledge, the attention of researchers is focused on the rhizomatic approach to their discussion. The combination of factors indicated in the above research examples allows us to talk about rhizomorphism and a rhizomatic disciplinary approach to such an object as a library.

The rhizomorphism of objects gives an association of rhizomatic representations of labyrinths. In the literature of postmodernism, the symbol of the labyrinth is represented in the works of such authors as F. Kafka, D. Joyce, Eco, G. Pelevin, Hockey, E. Schopenhauer, A. Akhmatova, M. Volodin and others. There are constant intersections of paths in the maze, which intersect from the center to the periphery, where a person's life becomes like a journey. Traveling along the branching paths of the labyrinth, losing hope and regaining faith, the reader plunges into the philosophical parabola of the labyrinth ^{[3; 33]}.

The conceptual semantics of the "rhizome" is relevant for discussing a complex and contradictory situation. A rhizome maze appears in a metaphorical system: love, soul, the universe, space, books, libraries.

In our opinion, it is most convenient to consider the library-the temporal periodox as a rhizomorphic maze in the communicative chaos on the example of famous works of classics of literature by W. Eco and L.H. Borges.

Object and methods of research

The article offers a comparison of the concepts of library paradoxes as rhizomorphic labyrinths in the temporal chaos on the example of the works of H.L. Borges and W. Eco. The object of the study is a rhizomorphic library-labyrinth. To study the concepts of library paradoxes as rhizomorphic labyrinths in the temporal chaos on the example of the works of H.L. Borges and W. A comparative method was used for IVF. The basis of the research is based on the main principles of historical and philosophical science. The scientific nature of the study makes it possible to compare the concepts of library paradoxes as rhizomorphic labyrinths in the temporal chaos using the example of the works of H.L. Borges and W. Eco. General scientific and special scientific methods constitute the methodology of the presented research. In this study, the comparative and descriptive approaches of the above sources were used. Using these methods of document processing, based on available sources, a comparison of the concepts of library paradoxes as rhizomorphic labyrinths in the temporal chaos is proposed using the example of the works of H.L. Borges and W. Eco.

Results and their discussion

1. The library as a rhizomorphic paradox

Rhizome is a philosophical, postmodern concept, taken originally from botany (an underground, usually horizontal, stem with a missing taproot, from which, like an endless maze, more and more new shoots randomly depart). In modern science, the term "rhizome" was introduced by the famous philosophers J. Deleuze and F. Guattari. The researchers presented a joint paper that illustrates the characteristic of this term. ^{[13; 14; 15]}. The definitions of rhizome are constantly changing, while being the basis of postmodern philosophy. According to J. Deleuze and F. Guattari, the rhizome acts as a kind of concept of the ordered chaos of the new world system. One of the most important prerequisites for the establishment of a new world system is the irretrievable loss of a common core by the world. In this regard, it becomes necessary to select a certain universe of inaccuracies in order to be able to identify something most accurately. According to an expert in nuclear physics, Doctor of Technical Sciences V.F. Sharkov, today the "compass of Aristotle" should be replaced by the "tuning fork of the rhizome" ^{[43, p. 48]}. According to this researcher, rhizomatic logic will gradually become a tool for creating a new scientific paradigm, like a tuning fork that sets a certain tone for the entire rhizomorphic organization. Here we can talk about a general renewal of the scientific picture of the world due to productivity and awareness of the prospects of scientific development by the scientific society.

Due to the structural development in different directions, rhizomes create an unpredictable transformation of discourse. They have no center, periphery or insurmountable boundaries, but at the same time generate new associative connections, proliferate aspects of reality and create new meanings. The rhizome organizes being according to rhizomatic logic, passing from one semiotic system to another and overlapping with discourses ^{[32, p. 805]}.

The possibility of one or another scenario for the further development of events is defined in postmodern philosophy as a space in the light of choice. The labyrinth is a kind of anchor of "entanglement, complexity, multidimensional nature of culture and human existence, polysemy of cultural and existential states" ^[6].

The essence of the labyrinth foundation is anti-hierarchical and decentralized. There are no dominant or median toposes in it. The paths of a labyrinthine architecture cannot be dominant or privileged connected to each other. The possibility of crossing each path with another leads to the formation of a new path and a subsequent "set" goal. By definition, J. Deleuze and F. Guattari, "sets are rhizomatic, and they expose tree-like pseudo-sets. There is no unity that follows the core in the object, nor that which divides within the subject. Multiplicity has neither an object nor a subject, only determinations, magnitudes, dimensions that cannot increase without a corresponding change in essence" ^[13]. Perhaps a rhizomorphic maze can become part of another maze, creating a chain of connections between initially unrelated mazes and including them in its structure. This allows other mazes to become both dominant and subordinate, and creates the impression of a "maze within a maze".

In the endless underground labyrinth, there is no definite center or periphery that could serve as the basis for the formation of meaning. Instead, the maze encompasses an immeasurable space, devoid of a specific beginning or end. In the absence of a central point in 1976, the maze has no definite direction of movement, making it dynamic and uncertain.

A lot of false starts, repetitions, distortions and obstacles block all possible exits, making it impossible to find an exit. Even if you try to find a way, the topic only becomes more complicated and confusing. The only constant in this maze is the constant movement between minimum and maximum, where "nothing" and "everything" are defined and redefined ^[33].

By themselves, the concepts of chaos and order in this context can be a fundamental, even archaic opposition to such a model as a library, regardless of time and space ^{[29, p. 77]}. In ancient times, libraries were "a reflection of the universe" ^[21] and were considered the ideal of order.

The library as an underground labyrinth became most apparent in the Middle Ages. The order of chaos is the main difference between libraries and other similar organizations of that time. It never occurred to medieval people and those who lived in the Renaissance that a library could be in chaos or have a disturbed order. It was unacceptable to their consciousness. Nowadays, we adhere to this tradition and improve the ways of classifying and systematizing books. The idea of an organized and meaningful order in the library has become an unshakable principle. However, in the second half of the 20th century, some philosophers and cultural historians began to express the idea of recognizing chaos as a universal model, including the library space.

In 1976, the philosophers J. Deleuze and F. Guattari presented the book "Philosophy", where they proposed a new concept of "rhizomes" to explain chaos as a new system of world order. The concept of "rhizome" is closely related to the idea of development, which assumes a multiplicity of options, reversibility and unpredictability of the development process. It turns chaos into a source of renewal and becomes a generator of ideas and opportunities. Rhizome paths find their own entrances and exits without needing the help of Ariadne's tangle.

There is no clear path, there are no specific rules for traveling from the center to the "broken" circle, from the "vanishing point" to "the center is everywhere, and the borders are nowhere" ^[33]. Recipients have the right to choose their starting point and direction, without being limited by rules and regulations, in order to overcome this confusing maze.

Thus, a situation of eternal choice arises, since the recipient forms an infinite number of options from an infinite number of directions. The beginnings, the middle, the goals are those places where the recipient begins to go his own way, guided by his own opinion, without disturbing the internal order of the maze. In this case, it is impossible to build the final meaning of the path.

2. The library as a rhizomorphic paradox (on the example of the works of H.L. Borges)

The theme of the rhizomorphic labyrinth by H.L. Borges is also one of the central themes in his work. The labyrinth of time in his works is a kind of starting point of history, a reflection of the first sense of self, the boundaries of oneself, fears, dreams. The first experiences, the first games, the first relationships take place in the maze. The labyrinth twists the history of time from the moment of childhood and adolescence of parents, adults now, people to the metaphor of former existences by transmitting joy and life to their child. Here, as a confirmation of Borges' views, one of his favorite quotes from the Greek Empedocles and the Celt Taliessen can be cited: "It was me!". The rhizome has no foundation, but it does not reject existence. Subsequently, Borges discovers Kabbalah – an absolutely rhizomorphic system resembling a maze with constantly changing entrances and exits and aiming to change this impermanent world, resorting to different essences and meanings – both light and dark. "The Story of Tango" is an example of the rhizomorphism of the main character and his life path. By adding it to Evaristo, the already mature writer Borges leaves the book without a core character, while putting his name in the title. The hero's surroundings serve only as a sluggish background, not pretending to be more, unfolding around the hero, but not filling him with meaning, like an endless maze. Such an impossibility of a clear biography of the hero is indicative of the author's work. The theme of chaos, not demonic, but quite everyday, can be traced in the "Three Versions of Judas's betrayal", when life can neither end nor begin, but as if in a maze loses its thread and turns into a nightmare of disintegration and degradation. The novella "South" reveals the feeling of a labyrinth of deaths, which Borges finds himself in the year of his fortieth birthday. The loss of loved ones leads him to become entangled in the labyrinth of existence, but soon salvation comes, a return to life. The thread of Ariadne is here the fourth eclogue of Virgil ^[1]. Borges' own expression that "he is moving in a different and former way" to his center" suggests that the exit from the maze always originates at the central site.

Borges tries to find an unstable anchor in the endless labyrinth of life and death in the library on the outskirts, hiding in the rhizome of books and catalogs, where he serves for extremely low pay. Perhaps this would have been a kind of salvation, but in 1946 he was fired from there after the enthronement of Peron, offering a humiliating post of controller over farm animals – chickens and hares. Borges pours the difficult situation and personal trauma into the story "Feast of the Monster" and the novella "Martin Fierro", which reveals the labyrinth of anxiety that sucks in an entire generation: "anxiety, the daily taste of shame and never-letting-go humiliation." Books in Borges' work are catalysts for increasing unreality. A thought awakened once will not fall asleep and will not be satisfied. Scripture and incarnation are inextricably linked, there are no books as long as there is a Book, according to Michel Foucault, "from the Bible to the library."

From the preface to the "World History of Baseness" it can be seen that Borges the reader considers himself immeasurably more interesting than Borges the writer, and reading is an occupation much less self–satisfied, more civilized and reasonable than writing. Every text is a multi-layered labyrinth, a rhizome, and the author is a kind of conditional sample of integrity, switching the writer's experience to the reader's and vice versa. This is best described in an essay about Whitman, the first man who gives names to living creatures, while being made by each of them at the same time. There is a palimpsest here, where only the subject can simultaneously and in the same place assemble an imaginary whole of meaning, choosing his own meaning, while not removing its complexity and not withdrawing.

Borges' library is also a rhizome, where he started from reading famous works of thinkers to monographs about them, intersecting with the works of authors of the third order, perhaps unfairly forgotten by descendants, and again returning to the first. In this maze, he was led by an endless search for "common places", images of unity in diversity. He saw "hackneyed" in literature as a crossroads where many and many people walked, where the most important and necessary things were hidden. The hero of the short story "The Garden of Running Paths" is forced to find this intersection, but not mechanically, but consciously enter into the repetition of the labyrinth of existence in order to find the answer to one of the main questions of his life, to find a certain wash of consciousness. At the same time, Borges, in the short story about Bernard Shaw, points out that repetition of meaning is impossible. You can't be the same at different times and in different places, the variability is constant. Reading seems to be a kind of shift in meaning, while not losing the already traveled part of the path, semantically moving a certain point of lumen, and making sense only if it is held ("Aleph").

Borges did not define himself either as a systematic or as an academic philosopher, referring the very concept of philosophy with some self-irony to the category of fantastic literature. The self-irony lay in the fact that this attitude to philosophy did not prevent him from looking for an image of that very common unity in the labyrinth of particulars from Borges-the reader. As an image of the semantic limit, a certain presumption of the order of personality sees Borges as a single language, an endless book, a universal library, highlighting in them not infinity itself, but rather a system. In reality, Borges turns them into a vision of a nightmare, a phantasmagoria, into which the life of the reader of the short story "The Library of Babel" and "The Life of Sand" passes. Literature teaches rather unreality, a kind of rhizome of meanings. The author-reader-creator comes into play, complicating the one-dimensional behavior of the characters ("Approaching Almutasim", "Dialogue of the Dead"). Borges has said more than once that a classic book is not written in a special way, but read in a special way. Perhaps that is why he was attracted to books that increase infinity by themselves, over time, without being imposed by the author or the compiler, but chosen by the reader himself. And the way out of the labyrinth of meanings is the challenge posed by the search for meaning, the point of enlightenment outlined in the "Aleph". Or as the hero of The Garden, who understands that "... everything in the world leads to something... right now, and the only thing that really happens is what is happening to me." This is a path, not a result, a problem, not a ready-made solution. And the world history here is a change of intonation with the "repetition" of meanings ("Pascal's Sphere").

The dissimilarity is demonstrated in the verses-twos, triplets, etc. Simultaneously denying each other (the resinationof the first "Gifts" and the gratitude of the second), they highlight and develop themselves, at the same time generalizing, increasing the importance of the situation, thing or hero reproduced in them, thus fastening the books separated by time in the labyrinth of the library, elevating them to the top of the human lot ("Readers", "Keys", "Labyrinth", "Blades", "Buenos Aires", "Chess"). The mechanism of the movement of the word, the poetics of creativity – not only the image of the author and his subject, but the elusive rhizomorphic meaning itself ("Different and former"). The rhythm of diverging and returning waves is the semantic center of Borges' poems ("Imaginary Poems", "Everness", "Spinoza", "Junin", "On Gifts", "Limits", "Golem").

Hence the idea that the world is represented by a labyrinth can also be traced in prose ("Garden of diverging Paths", "Abenhakan el Bohari"). The novella "House of Asteria" is centered on a maze – an example of a sensitive and complex approach to a logical symbolic whole. The mythological inhabitant of the Labyrinth, the Minotaur Asterius, appears here, the essence of which is pride. The house is devoid of everything external, and the outside world in the hero's mind is of no interest and "flat as a palm." Theseus and the Minotaur, who kills those who come to him, are clearly separated by the logic of the narrative and do not meet. The labyrinth is not only the embodiment of the symbol of death, but also of rebirth, the feminine principle. The passage and exit from the labyrinth is a kind of resurrection from the dead, which, in terms of similarity to the rhizome library, reminds us of P. Celan's expression: "Whoever speaks (or writes, or reads) is not dead." So Borges fulfilled the task formulated by Eliot through the mouth of Dante: "... to purify the adverb of the genus."

Borges' work in the context of the rhizome of concepts is reflected in modernity. In particular, Roman Leibov's project "The Garden of Diverging Haiku" (based on Borges' story "The Garden of Diverging Paths") is a real innovation in the age of the Internet rhizome. The author of the project adheres to the principles of rhizome when writing haiku, moving around the garden. The beginning of a new poem by the next author is the last line before each of them. It is noteworthy that the game has been on the Runet for almost 30 years and contains almost 100,000 hokku ^[30].

Like the Haiku Garden, the image of a library is presented in Borges' work. As a preface to "Evaristo Carriego" Borges writes: "...I grew up... in a library with countless shelves of English books." The labyrinth of books and the labyrinth of reality are closely intertwined in his work in the rhizome of unreal existence. And his works are not so much facts as imagination ^[12]. It is no coincidence that the author, in the context of the rhizomorphism of existence, mentions the deeds of the Greek poet, grammarian, bibliophile and head of the Library of Alexandria Apollonius of Rhodes, as well as the Greek historian and philologist, who is credited with creating the mythological code "Library" of Apollodorus ("Narrative Art and Magic") ^[5].

3. The library as a rhizomorphic paradox (using the example of the work of W. Eco)

In the novel by W. A physical rhizomorphic labyrinth appears in the "Name of the Rose", which is presented in the form of a library building and the location of the book collection. However, the main significance of this maze lies in its mental nature – it is a maze consisting of guesses and recognitions, which unfolds in the context of identification and search for a certain book, namely the second part of Aristotle's "Poetics", dedicated to the phenomenon of laughter.

The novel "The Name of the Rose" often mentions the concept of "postmodernism", which is present in the "Marginal Notes". The author clearly indicates that the novel was created under the influence of postmodern thought, namely concepts such as "intertextuality", "inversion of narrative", "rhizome" and "author's mask".

Although at first glance it may seem that the novel is a development of postmodern themes, in fact it is a true work of world classical literature. There is some contradiction between these two views of the novel, since its masterpiece cannot be fit into a mathematical formula ending in "ism".

The interaction of scientific and artistic discourse is clearly present in this novel, and U. Eco strives to convey the concept of semantic and cultural ideas through the language of artistic narration.

On its unique literary wave, a special "poetic thought" arises, it turns into a text containing many different meanings that cannot be unambiguously interpreted. Yu. Lotman describes this as an opportunity to imagine a whole gallery of readers who, after reading Eco's novel, will meet at a kind of "reader's conference" and will be amazed to discover that they read completely different books ^[23].

The multi–layered rhizomorphism of the work echoes its main theme - the labyrinth of the library. The work confuses the reader, starting as a detective story. At the same time, according to the already classical opinion of many researchers, the novel is a full–fledged encyclopedia of medieval life. The beginning of one narrative branch flows into another, misleading the reader. The names of the main characters – the Franciscan monk William of Baskerville and his young naive assistant Adson, the scene in which William of Baskerville accurately describes, by deduction and induction, the abbot's horse, which he had not seen before, the picture of the murder on the first day, reconstructed from small things, are parody offshoots of the novel, hinting at the famous adventures of Sherlock Holmes and the doctor Watson by A. Conan Doyle. And suddenly the detective canon is violated. The expected disclosure of the mystery does not happen, the detective loses without preventing further crimes, guessing too late about the meaning of certain actions, and at the very end, the library manuscript itself dies in a three-day fire. 

Issues of wealth and poverty arise in church disputes, reconciliation between emperors and popes is organized by the Franciscans, political intrigues and the fight against heresy also take their place among historical topics. It is especially important to note that some real historical figures have become fictional characters. The motif of the mysticism of the lost manuscripts, designed in the style of medieval chronicles, is also important. In the work of the Italian Walter Scott A. Manzoni "The Betrothed": a story from the history of 17th-century Milan" there is irony: the style of the ancient list is "exquisite Spanish, Lombard and shapeless", and the title of the preface is "certainly a codex". After that, the work gradually loses the appearance of only an artistic narrative, plunging into a maze of conclusions. The novel remains a mystery, the narrative strategy is uncertain, and the image of the novel symbolizes a maze in which the reader must navigate. In his afterword, W. Eco lists various types of labyrinths, such as "classical antique", "mannerism" and "rhizome", and prefers the latter to postmodern rhizomes. Rhizomes offer endless possibilities in the structure of the text. The text of U. Eco is a labyrinthine narrative that is not only spatially complex. Thus, the labyrinth arises as the intersection of multidirectional paths and the basis of metaphysics, "history and structure of thought" ^[11].

By definition, U. Eco libraries make it possible to find certain materials, while having the function of hiding some of them. A natural complement to the tendency to concealment is the idea of accessibility. One cannot disagree with D.K. Ravinsky in his statement that "we always admire the abilities of the great Renaissance humanists to discover lost texts. But where did they find them? In libraries. In libraries that hid texts and at the same time provided opportunities for discovery..." ^[27].

In the library, reality is dynamic for those who are looking for a specific book. Regardless of time and space constraints, the process of searching, identifying and categorizing books continues. People are actively moving forward in the dynamic reality of the library, where the search direction is becoming more exciting and intriguing. It becomes a real adventure for the seeker who finds the book on his own, having no idea of its purpose. Thus, the researcher becomes a real hero, to whom books are presented by themselves ^[25].

At the very beginning of the novel we read: "... even Aristotle speaks of jokes and word games as the means of the best knowledge of truths and that, therefore, laughter cannot be a bad thing if it contributes to the revelation of truths" ^[45].

The deadly book that Wilhelm and Adson are looking for not only owns the abbey, but also revives it. Her secrets and dangers attract Wilhelm and make him get carried away. With the help of semiotics, he finds and recognizes the book through other texts, creating new contexts. Adson claims that thanks to Wilhelm, he realized that "books talk to each other, sometimes as if they have their own speech." This book becomes not only a secret weapon, but also rules the abbey, increasing its secrecy.

A classic example of the fundamental labyrinth of speculation and perception is this particular approach to interpretation, which plays into choices-decisions and the principle of branching. The maximum number of alternatives that the branching path image offers ultimately leads to a dead end. This approach can be compared to the Kafkaesque metaphor of an endless search that does not lead to any solution ^[33].

In the process of investigating the murder of Abbot Adelma, Wilhelm Abelard comes up with many hypotheses. This is due to the fact that he tries to take into account all possible options and not be limited to any one version. He says: "I try to have several of them, otherwise you become a slave to a single one." The variety of hypotheses allows Wilhelm to see events from different angles and identify new details that may be important for the investigation. For example, thanks to Wilhelm's guess, based on the connection between the contradictory assumptions about Adson's dream and the mysterious notes of Bentius, clues lead to the "Poetics" of Aristotle. However, despite Wilhelm's best efforts, the investigation turns out to be very complicated and confusing. At some point, he realizes that his logical chains are not working, and that the killer thinks differently than he does. He says: "I guess the killer thinks the same way I do. But what if he has a different logic?" Nevertheless, it is a false trail that leads to the right path to evidence and reveals the organizers of the crime. The murderer disguises the crime under the statements of the investigators, and Wilhelm, following these statements, comes to the truth. A false trail as a means of solving a crime A false trail is information that leads an investigator to a false conclusion. In the novel "The Name of the Rose", a false trail is used by the killer in order to hide his true intentions. The killer knows that Wilhelm Abelard is an experienced investigator who will look for a logical explanation for the events. Therefore, he creates a false chain of events that leads Wilhelm to the wrong conclusion. In this case, the false trail is the version of the seven trumpets at the beginning of the Apocalypse. The killer gives Wilhelm this version so that he assumes that the murders are connected with apocalyptic events. Wilhelm follows this version and comes to the conclusion that the killer is Jorge, who wants to bring about the apocalypse. However, in the end, Wilhelm realizes that this version was false. In the novel The Name of the Rose, rhizome is a metaphor that is used to describe a complex and confusing world. The rhizome does not have a central trunk, but is a network of intertwined roots. Thus, the rhizome symbolizes the lack of order and predictability in the world. This is a world in which everything is interconnected, but in which it is impossible to find unambiguous patterns. The rhizome also symbolizes the complexity and versatility of human consciousness. Each person is a rhizome consisting of many intertwined thoughts, feelings and memories. In the novel The Name of the Rose, the rhizome is used to describe the investigation into the murder of Abbot Adelma. Wilhelm Abelard, trying to solve a crime, encounters the world of rhizome. He understands that the world does not obey the simple laws of logic, and that truth can be found only in the very complexity and intricacy of the world.

The results of the study

Based on a comparison of the works of H. L. Borges and W. However, the following similarities can be found in the concept of rhizomorphism of libraries:

firstly, both authors see the library as a rhizomorphic labyrinth in the context of world history;

secondly, both authors in their works take the library as a vivid example of a rhizomorphic paradox;

thirdly, in the works of both authors, one can find similar signs of rhizomorphism of the library as an object;

Fourthly, both authors define the library as the basis of the rhizome for their works dedicated to it.

However, it is impossible not to point out the striking differences in the authors' points of view on the library as a rhizome, namely:

Firstly, rhizome mazes have some differences. If the library is a rhizome of U. Eco is a "thing in itself", then the labyrinths-rhizomes of H.L. Borges multiply from novel to novel;

Secondly, the heroes of the works of W. Eco searches for and loses a desired object in the maze, while the heroes of H.L. Borges lose themselves;

Thirdly, the roots of interest in the rhizome maze in H.L. Borges go back to his childhood and are reflected in a number of short stories while W. Eco introduces the reader to the rhizome precisely in the context of the history of time, in particular, the European Middle Ages;

Fourthly, the short stories of H.L. Borges are similar to the concepts of sleep, while the work of W. Eco gives the reader a picture of the reality of life with historical characters who really live in their specific time.

Thus, the study showed similarities and differences in comparing the points of view of H.L. Borges and U. Eco is based on the concept of a library – a rhizomorphic labyrinth-a paradox in time.

Conclusion

Many aspects of our social life can be explained through the principles of rhizomorphism, which is associated with the concept of rhizome and discursive practices. Rhizome is a metaphorical term used to describe complex and nonlinear structures that spread horizontally and have no hierarchical organization. This concept was introduced by the French philosophers Gilles Deleuze and Felix Guattari in their work "Rhizome: an Introduction". In the postmodern paradigm, reality is perceived as fragmented and multidimensional, devoid of a single center or truth. Instead, we encounter a multitude of overlapping discursive practices that shape our social consciousness. Discursive acts such as language, symbols, signs, and social practices play an important role in creating and interpreting our reality. However, it is important to note that rhizomorphism and postmodernism are not all-encompassing theories explaining all aspects of our lives. They offer an alternative view of the organization and perception of the world, but they are not the only true explanations. Moreover, the concept of rhizome can be applied not only in the social sciences, but also in other fields such as biology and information technology. For example, in biology, rhizomorphism can refer to the rhizomes of plants that spread in the soil and provide a connection between different parts of the plant. In information technology, rhizomorphism can be used to describe distributed networks and connections between nodes. Thus, the concepts of rhizomorphism and postmodernism offer new ways of understanding and explaining our complex and multifaceted reality. They help us realize that our world is not a simple hierarchical structure, but rather a complex network of interconnections and interactions. The world is constantly and dynamically changing, and it is the rhizomorphic potential that uniquely identifies discursive changes in the world. The library is one of the fundamental rhizomorphic paradoxes of the global temporal chaos.

"The rhizome always exists in the middle, between objects, in the interval between being. It represents an alliance, a connection represented by the sign "and ... and ... and ...", while the tree is a manifestation of consistency and continuity. The tree emphasizes the concept of "being", whereas the rhizome is woven of connections and connections. In the context of the library, the rhizome becomes a temporary paradox in the chaos of communication. It reflects the circulation of states and meanings, the complexity of the distinction between the center and the periphery, the definition of subordination and subordination, as well as the intertwining of moving lines and the possibility of variations in meaning. This whole philosophy of rhizome is the thinking and logic of the essence itself. Rhizome cannot be called the key to solving the correct vision of the library image in the context of time, rather, it is a method. That is why the materials of famous literary works of classics – H.L. Borges and W. Eco - were chosen as a tool for solving the problem of the library's temporal paradox in the chaos of communications. According to the researchers, everyone has the "right to consider alternatives" in accordance with the laws of scientific deontology" ^[20]. Discourse analysis, as it is known, is based on the idea of interdisciplinarity, which is facilitated by the rhizomatic approach. French philosophers proposed the concept of rhizome, which combines philosophy, linguistics, philology, psychology and cultural studies, expanding the possibilities of discourse analysis. This concept plays an important role in understanding the library as a rhizome that unites all of the above disciplines.

M. Foucault wrote that the XX century will be the century named after the philosopher J. Deleuze ^[18]; J. himself. Deleuze did not want to be institutionalized and subjected to categorization and definition. The rhizome is a concept that already in the XXI century contributed to the expansion of his name and ideas.

With a lack of opportunities to define concepts, H.L. Borges often turned to the use of metaphors, one of which is the image of the labyrinth – a key element of Borges' philosophical conceptual system ^[3].

According to V. Teltelboim, the labyrinth served Borges as a symbol of life, representing traps that captivate him with their passion and painful experiences ^[39]. At the same time, he considered the library as a model of order, the standard of the system.

In turn, the success of the novel by W. Eco "The Name of the rose" cannot be determined by just one factor or another. The timing of its first publication is important, it was the decade in which the novel appeared that was ready for this – a deepening into metaphysics and theology together with medieval history, complemented by a detective line, a library-maze in rapidly changing life events. Life is a game in a maze – this is how you can define the creativity of U. Eco.

The worldview of the labyrinth concept of the library of both authors can be expressed in the words of the philosopher L.V. Starodubtseva: "The image of a form incomplete, open, eternally open and eager for completion in its center ... this figure of metamorphosis, transformation. Continuous transition: from the center to the periphery and from the periphery to the center" ^[33].

Thanks

The author expresses his deep gratitude to the scientific supervisor, Doctor of Philosophy, Professor Y.S. Obidina.