More than any of his other archetypal forms, C. G. Jung’s conception of the shadow has found a permanent place within popular culture. But whether it manifests bodily as a shadow-figure or permeates ...the conscious world in the form of a shadow-realm, the Jungian shadow is presumed to be a negative and even sinister archetypal force. In fact, it is precisely these negative qualities that are now used to identify shadow figures within myths, folk tales, works of literature, and other narratives. This dissertation sheds light on an overlooked archetypal presence which I call the Foreshadow. The Foreshadow archetype represents the theoretical ideal of what the shadow can be: still dark, wild, and hairy, but not sinister or frightening. Through a depth psychological and cross-cultural study of figures who embody this Foreshadow archetype—including John the Baptist, Merlin, al-Khidr, Hanuman, Siddhartha and others—this dissertation lays out a constellation of symbols and narrative elements particular to the Foreshadow, much as Jung did in Aion: Researches into the Phenomenology of the Self. Embraced by its ego-figure, the Foreshadow is what the shadow always wishes to be; not the lurking enemy of the undeveloped ego, but rather, the devoted servant of the transcendent ego, helping it along the path of individuation which leads ultimately to an era-defining symbol of the Self. Keywords: C. G. Jung, depth psychology, Foreshadow, shadow, archetype of the Self, John the Baptist, Merlin, Khidr, Hanuman, Siddhartha
Lure of the Arcane Ziolkowski, Theodore
2013, 2013-08-15, 20130815
eBook
Fascination with the arcane is a driving force in this comprehensive survey of conspiracy fiction. Theodore Ziolkowski traces the evolution of cults, orders, lodges, secret societies, and ...conspiracies through various literary manifestations—drama, romance, epic, novel, opera—down to the thrillers of the twenty-first century.
Lure of the Arcane considers Euripides’s Bacchae, Andreae’s Chymical Wedding, Mozart’s The Magic Flute, and Eco’s Foucault’s Pendulum, among other seminal works. Mimicking the genre’s quest-driven narrative arc, the reader searches for the significance of conspiracy fiction and is rewarded with the author’s cogent reflections in the final chapter. After much investigation, Ziolkowski reinforces Umberto Eco’s notion that the most powerful secret, the magnetic center of conspiracy fiction, is in fact “a secret without content.”
A biblical servant leadership model found in Paul’s Epistle to the Philippians offers a possible framework for servant leadership in terms of being and doing. While recognizing the contribution of ...Greenleaf’s work in servant leadership, this research seeks to find a distinctly biblical understanding of servant leadership. Greenleaf’s model has been criticized for its lack of a philosophical framework. As a result, many of its proponents have come up with their different models and definitions, with so many varying characteristics of servant leadership. Other researchers have recognized a need for a model of servant leadership based on being and doing, not just on doing. The exegetical work in this research shows that Paul’s identity as a servant or being is based on his union with Christ, and his service or doing is based on his participation in Christ. Based on his union with Christ the servant, Paul participates in Christ’s humble, self-sacrificing service. Moreover, he leads others to participate in Christ’s humble, self-sacrificing service in their union with Christ. Accordingly, a new definition of servant leadership is offered: “A servant leader, is a servant in his/her union with Christ, and he/she participates in Christ’s humble, self-sacrificing service, and leads others to participate in Christ.” However, this does not mean that this research offers a definitive philosophical framework for biblical servant leadership, especially because of the scope of the study was limited to the Epistle to the Philippians. It does offer an initial step towards a framework for biblical servant leadership. This research calls for further study of other Pauline epistles to work towards a framework of at least Paul’s understanding of biblical servant leadership.
The form of life which has the desire for or will to control over emergence at its core is, if not the dominant, then at least one of the more significant ones in late modern culture. To be in ...control over emergence requires a considerable degree of sovereignty. In this contribution I have made an attempt to outline and contrast three rather basic images or models of what might be called radical sovereignty, i.e., the vital-reflexive-transgressive one (which is referred to here as Nietzsche type 1), the existential-reflective-transcendent one (Nietzsche type 2), and the ambivalent-creative-transformative one (Nietzsche type 3). The analysis of paintings by post-war artists such as Jackson Pollock, Mark Rothko, and Paul Rebeyrolle is used to illustrate how the aforementioned types of radical sovereignty may have emerged, fully-fledged, in art, in the wake of the Second World War.
Conventionally, music is said to require three interrelated modes of receptivity: the formal analysis of its sonic structures, the hermeneutic deciphering of its semiotic meanings, and the ...performance of its actual works. However, as I argue in this essay, there is a fourth process that partly encompasses aspects of these modes but adds to them in multiple ways that are crucial to the experience of music. This mode of receptivity pertains to the possibility and limits of the transposition of the sonic language of music into other media, aesthetic practices, and signifying systems. German modernist poetry addresses this topic in its self-reflexive exploration of music beyond the parameters of melody, harmony, rhythm, meter, and timbre in order to intersect with other arts, forms of human experiences, and historical self-articulations.
This essay takes up the question of the different methods fiction writers use to represent music in their works. This inquiry prompts a meditation on the relationship between literature and music, ...the differing and overlapping goals of each, and what this relationship might mean for the practicing artist (literary or musical). The piece contends, after grappling with these questions, that it is the linguistic nature of fiction that gives it more fundamental access to the elements of the human experience. This observation brings the essay to a more personal sphere, in which the thinking done earlier in the essay is brought to bear on my own rejection of musicianship in favor of writing fiction.
Viele Studien haben bisher das Bild des Orients und des arabischen Raums bei Goethe untersucht, wie Goethe die anderen Kulturen und Literaturen sah. Meine Arbeit jedoch nähert sich dem Thema ...erstmals, wenn man so will, von der anderen Seite. Denn sie steht unter den Leitfragen: Wie ist das Bild Goethes in der arabischen Welt konturiert? Wie wurde und wird Goethe in der arabischen Literatur dargestellt? Die vorliegende Studie untersucht die Schwerpunkte der arabischen Rezeption deutscher Literatur vom 20. bis zu den Anfängen des 21. Jahrhunderts, wobei insbesondere auf Johann Wolfgang von Goethe und seinen Briefroman Die Leiden des jungen Werthers Bezug genommen wird. Im Mittelpunkt steht dabei die Entwicklung der Rezeption, also die Interaktion zwischen Leser und Text, ohne dabei die Rolle des ursprünglichen Autors zu vernachlässigen. Als theoretische Grundlage der Forschung dient die Rezeptionstheorie von Hans Robert Jauß, in welcher der historisch-ästhetische Erwartungshorizont der literarischen Erfahrung im Zentrum steht, wobei das Werk-Rezipient-Verhältnis sowohl die Aktivierung wie auch die Obejktivierung dieser Erwartung umfasst. Der Schwerpunkt liegt dabei vor allem auf der Frage, wie die deutsche Literatur von den Arabern zunächst übersetzt und gelesen, insbesondere aber darauf, mit welcher Wahrscheinlichkeit sie gemäß ihren intendierten Aussagen rezipiert wird. So ist etwa die Arbeit des Übersetzers bei der Auswahl des zu übertragenden Stoffes sehr entscheidend. In der angemessenen Übertragung etwa bildlicher Sprache liegt auch ein schöpferischer Aspekt, und die Übersetzung literarischer Texte, für die ihre ästhetische Form konstitutiv ist, unterscheidet sich somit stark von Übersetzungen von Texten, bei denen die Vermittlung von Informationen im Vordergrund steht. Unter diesem Blickwinkel wird die Übersetzung selbst als Prozess der Rezeption betrachtet, im dem der Übersetzer als ein erster Leser fungiert, der vor allem die Wirkung des literarischenTextes mitrezipiert und innerhalb seines Kulturkreises angemessen wiederzugeben im Stande ist. Diese Form der "Nachbildung", trägt dazu bei, den Eigensinn der literarischen Form zu bewahren, damit er auch im arabischen Text noch wahrnehmbar bleibt. Die arabische Rezeption der deutschen Literatur stellt noch ein Desiderat der Forschung dar. Man interessiert sich stattdessen eher für die deutsche Literatur als einheitliches Forschungsgebiet. Schwerpunkte liegen dabei auf dem Fremdbild der eigenen Kultur, auf Goethes Konzept der Weltliteratur und auf dem breitgefächerten Interesse, das Goethe dem Orient entgegenbrachte.
This dissertation argues that the Fourth Gospel offers a potentially transformative response to the question of suffering and that the disciples’ question in John 9:2 invites the reader to bring his ...or her own question of suffering to the Johannine Jesus, whose response continues into the healing narrative, the interrogation narrative, and the Good Shepherd discourse, offering a theodical spirituality.
Broken Body Broken Mind is a collection of personal essays that, while exploring subjects from depression and alcoholism to powerlifting and archaeology, probes the connections between mind, body, ...and identity. Through the motifs of time and myth, with the aid of literature, history, and science, I have attempted to investigate the ways in which I have progressed in the continual process of becoming a person, how I have been made and remade in a nebulous mass of experiences and stories. The body and the mind are always dancing on the same invisible web of the self, and the distinction between them perhaps only exists in the corner of the eye, breaking down when looked at directly. This is my attempt at looking.
In an essay on Das Glasperlenspiel Michel Tournier wrote that Hermann Hesse belongs to 'cette extraordinaire génération ... qui paraît n'être née au XIXe siècle que pour mieux couvrir de son ombre et ...de sa lumière tout le XXe siècle'. Tournier's 1970 novel Le Roi des aulnes represents his most elegant homage to the semiotic Glass Bead Game played by Hesse's Joseph Knecht. Like Das Glasperlenspiel, Le Roi des aulnes is made up of contrapuntal signs and motifs of which the central character is completely aware and with which he plays, like an astrologer casting a horoscope or an alchemist preparing a magical brew.
