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Mythic Paradigms in Literature, Philosophy, and the Arts approaches literary and visual texts from the perspective of Hesperian identification and representation. Included is the first translation into English of Fichte's Supplement of 1801, a document whose content sheds light not only on the atheism controversy of the 1790s, but also on literary/philosophical polarizations in the «Republic of Letters». Condensed from the Hesperian atmospherics of Italy and Latin elegy, Faust II entails a Goethean celebration of auditory and visual sensation. In a text devoted to Shelley, Gregory Corso is seen elaborating a prosopopoeia involving Hypnos, god of sleep, a figure dispelling the effects of reading - the hypnoticon. Eisenhauer reads Hölderlin in the context of Pindar, philosophical idealism, and autobiographical projection.
With two essays devoted to Wordsworth, The Fate of Translation reframes the discussion of Hesperian aesthetics initiated in Robert Eisenhauer's Mythic Paradigms, suggesting how the question of translation poses itself at the crossing of textual high- and low-roads: on the one hand, in the critical and scholarly debate concerning the relevance of Goethe's «Der Wandrer» (in the English version by William Taylor) to the primal/primary scene of autobiography and, on the other, in the reprojection of supernatural agency (numen) in the context of the Literature of Power. Confrontational deixis and a hermeneutic counterturn energize Wordsworth's self-assertive resensing of antiquity and modernity via satire, pastoral, and the sonnet. The third essay, ranging from Pindarizing texts by Cowley, Goethe, and Hölderlin to the films of Matthew Barney, shifts the focus to mimetic enthusiasms among translators and replicators of the «full fan-experience.» John Barth's intriguing analogy between metafiction and fractal geometry serves as the catalyst for a reading of texts by Thomas Browne and Friedrich Schlegel, a major painting by Philipp Otto Runge, and The Arabian Nights as malignly received by Poe. The arabesque and grotesque are seen as engaged in a problematics of passion at the utopian end of art, a consensualist paradigm akin to the Dionysian liberation of the subject/player/fan in baseball - one whose field of implication includes Nietzsche and contemporary novelists. Eisenhauer reads Padgett Powell's Edisto as a declamatory mini-epic divergent in its muthos from the tradition of the «American hieroglyphic». Edisto's fictive reinvention of the South suggests a revisiting of the Literature of Power as priviledged, emancipative counterfacticity of «other truth» congruent with the fictive worlds of Cable, Faulkner, and Günther Grass.
American literature has long celebrated the figure of the self-made man and the idea of establishing selfhood, particularly male selfhood, in nature. However, during the crisis of masculinity that swept across America in the middle of the twentieth century, a generation of writers started exploring a different kind of a man. This was a figure who was concerned not so much with the loss of the West or the desire to recover a wilderness, but with how to live in an ordinary, domesticated continent. Masculinity and Place in American Literature since 1950 explores the role of place in negotiating, reinforcing, and subverting articulations of hegemonic masculinity in the work of four American writers from the latter part of the 20th century—John Cheever, John Updike, Raymond Carver, and Richard Ford. The book argues that American fiction by white male writers between the 1950s and the present day is compelled by the troubled and troubling relationship between masculinity and place. This relationship is deeply embedded in how ideals of masculinity are predicated upon the experience of the physical world, and how the symbolic logic of masculinity is continually subverted by alternative conceptions of dwelling and ecological consciousness.
Paradox and Perspicacity: Horizons of Knowledge in the Literary Text enters into a dialogue with recent scholarship on a number of fronts. Taking into full account the role played by esotericism in shaping the thought of Leibniz, Cardano, and the Helmonts, Robert Eisenhauer elaborates Lessing's «cybernetic» view of historical evolution. The essay on Jean Paul's ars recombinatoria discusses how the discourses of travel, cosmology, and millennial speculation are applied to a Diderot-inspired project of encyclopedic emancipation, concluding with remarks on the author's pedagogical relevance to German-speaking Jews. At mid-century, Margaret Fuller's feminist texts place a Fourierist edge on the consensual reading of Richter, while The Blithedale Romance represents pastoral utopia as a site of mesmeric or, indeed, entropic dislocation. Henry James's The Europeans revisits «Blithedale» as a «ship of fools», where the vehicular provides a metaphor for fiction and narrative itself becomes identified with iconic distress. The remaining essays treat Pound in the context of gemology and courtliness, quasi-direct discourse in Dostoevsky, and the role of Zeno's paradox in Claude Simon's fiction.
The Anatomy of Myth is a comprehensive study of the methods of interpreting authoritative myths from the Presocratic philosophers to the Neoplatonists and their adoption by the Church Fathers.
Parables of Disfiguration examines literary and cinematic texts from the Romantic period forward, offering fresh perspectives on the vicissitudes of reason and excess - seen as moments leading to a seizure by sophia (wisdom). Reading canonical works by Percy Bysshe Shelley, but also less familiar poems such as The Revolt of Islam, Robert Eisenhauer draws attention to a series of transits involving the operation of chance and the playful distortions of the scholarly anagram. Hart Crane and Walt Whitman are seen pursuing Dionysiac vocations in the attempt to advance a poetics of melancholy anatomy. Fellini's landmark film La Dolce Vita recuperates or «re-Vamps» Roman and more exotic (American) character-types, while parabolically excavating ancient names. Further essays are devoted to William Burroughs's representation of the Arab underclass (with reference to the Egyptian novelist Naguib Mahfouz), Edward Dorn's Heideggerian epic Gunslinger, the city in twentieth-century utopian vision, and the concept of the ephemeral in modernist aesthetics. Parables of Disfiguration concludes by reading Wallace Stevens's wintry and complex «Thirteen Ways of Looking at a Blackbird» tropically - in the context of haiku verse, the Yucatán, Hunter Thompson's «Gonzo» journalism, Plutarch, and an exquisite vehicle combining excess with vindictive righteousness, the Vincent Black Shadow motorcycle.
This book focuses on reinterpreting mythical China from the perspective of the cultural theory of big tradition. It is divided into two parts: the first explains the theoretical development and features of the Chinese version of big tradition, identifying the differences between the Eastern and Western cultural traditions (big tradition and great tradition). The second part then reinterprets the core values and mythical ideas of Chinese civilization and traditional culture from the perspective of big tradition. Moving beyond the small tradition of text centrism and using new methods and materials, the book reveals the original meaning and the cultural coding function of big tradition during the preliterate period. Drawing on integrated evidence from literature handed down from ancient times, oral and intangible cultural heritage, tangible culture, cross-cultures, image culture and unearthed documents, the book interprets Chinese cultural traditions and spiritual values from local, archaeological, experiential and survival perspectives, to help readers better understand the mythical codes and genes of early Chinese culture.
Is the lion the symbol of China? Or should it be the dragon or the phoenix? This book makes a provocative interpretation of the Chinese ancient totems such as the bear and the owl. Taking a mythological approach, it explores the origin of Chinese civilization using the quadruple evidence method, which integrates ancient and unearthed literature, oral transmission, and archeological objects and graphs. It testifies to the authenticity of unresolved ancient myths and legends from the origins of Chinese Jade Ware (6200BC-5400 BC) to the names of the Yellow Emperor (2698–2598 BC) and the legends from the Xia (2010BC-1600BC), Shang (1600BC-046BC), Zhou (1046BC-771BC), and Qin (221BC-206BC) Dynasties. The book lays the foundation for a reconstruction of Chinese Mythistory. With well over 200 photographs of historic artifacts, the book appeals to both researchers and general readers.
In today's art world many strange, even shocking, things qualify as art. In this Very Short Introduction Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, alongside the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Flashes of lightning, resounding thunder, gloomy fog, brilliant sunshine...these are the life manifestations of the skies. The concrete visceral experiences that living under those skies stir within us are the ground for individual impulses, emotions, sentiments that in their interaction generate their own ever-changing clouds. While our intellect concentrates on the discovery of our cosmic position, on the architecture of the universe, our imagination is informed by the gloomy vapors, the glimmers of fleeting light, and the glory of the skies. Reconnoitering from the soil of human life and striving towards the infinite, the elan of imagination gets caught up in the clouds of the skies. There in that dimness, sensory receptivity, dispositions, emotions, passionate strivings, yearnings, elevations gather and propagate. From the “Passions of the Skies” spring innermost intuitions that nourish literature and the arts.​