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In the Stillness of Love’s Madness, with Mythologist Norland Têllez

Viewing 5 posts - 16 through 20 (of 20 total)
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  • #73806

    Norland,

    Where would you recommend someone new to Girard’s work begin?

    #73805
    mythistorian
    Participant

      Hi Stephen,

      Those interviews I pointed to with the CBC seem to be a great place to start. There is also lots more content on youtube that would serve as a great introduction before picking up one of his volumes. When you’re ready to do that, Violence and the Sacred is a great start.

      #73804

      Hello Dr. Norland,

      Thank you for your wonderful suggestion for listening to his interviews, and then to pick up “Violence and the Sacred”.   Yes, I am already deep into listening to this great mind, although, still on the first two videos. I listen to the interviews over and over again. It’s making a bit of a dent there, and I am enjoying his thoughts very much.

      Shaheda

       

      #73803

      Thank you for the Mythblast, Norland, and your answers to questions. I especially feel elated when you say, in answer to Stephen’s question about what this awareness does for people at large/in general and not just the artist, “this ‘knowledge’ or gnosis remains hidden, in exactly the way Michelangelo understood it, waiting to be released from the Primal Matter of the Stone—hence the ‘practical’ need for the Artist  in society as the one who ‘knows’ consciously how to set it free!”  This also brings me to recall a quote I heard years ago (I forget who to attribute it to–it has been said so many times since by so many!): “Any art form reflects the society within which it lives.” When we see this in a film, a novel, a short story,  a poem, a painting, a piece of music, a dance, etc. we see something of ourselves in there, whether we are consciously aware of or not I might suppose.

      #73802
      mythistorian
      Participant

        Thank you Marianne,

        Yes, I think you’re right. It is a general insight about Art that it functions as a kind of mirror of society and the historical epoch in which it was created. Of course, this “leadership” of Art remains mostly unconscious and it requires a further step to bring what the artist has formulated in aesthetic terms back into the conceptual element of the understanding to become part of our conscious life. This reminds me of Jung’s paper on the transcendent function where he talks about this double movement of the self from aesthetic form to intuitive understanding:

        “Where aesthetic formulation tends to concentrate on the formal aspect of the motif, an intuitive understanding often tries to catch the meaning from barely adequate hints in the material, without considering those elements which would come to light in a more careful formulation.” (CW8 The Structure and Dynamics of the Psyche, pg. 84)

         

      Viewing 5 posts - 16 through 20 (of 20 total)
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