In contemporary America, myths find expression primarily in film. What's more, many of the highest-grossing American movies of the past several decades have been rooted in one of the most fundamental mythic narratives, the hero quest. Why is the hero quest so persistently renewed and retold? In what ways does this universal myth manifest itself in American cinema? And what is the significance of the popularity of these modern myths? The Hero and the Perennial Journey Home in American Film by Susan Mackey-Kallis is an exploration of the appeal of films that recreate and reinterpret this mythic structure. She closely analyzes such films as E.T., the Star Wars trilogy, It's a Wonderful Life, The Wizard of Oz, The Lion King, Field of Dreams, The Piano, Thelma and Louise, and 2001: A Space Odyssey. Elements of the quest mythology made popular by Joseph Campbell, Homer's Odyssey, the perennial philosophy of Aldous Huxley, and Jungian psychology all contribute to the compelling interpretive framework in which Mackey-Kallis crafts her study. She argues that the purpose of the hero quest is not limited to the discovery of some boon or Holy Grail, but also involves finding oneself and finding a home in the universe. The home that is sought is simultaneously the literal home from which the hero sets out and the terminus of the personal growth he or she undergoes during the journey back. Thus the quest, Mackey-Kallis asserts, is an outward journey into the world of action and events which eventually requires a journey inward if the hero is to grow, and ultimately necessitates a journey homeward if the hero is to understand the grail and share it with the culture at large. Finally, she examines the value of mythic criticism and addresses questions about myth currently being debated in the field of communication studies.
“The new scientific paradigm based on the primacy of consciousness is here and the question in everybody’s mind is how we access quantum consciousness and its causal power. The artist/author Susan Bello gives us a wonderful and powerful method: spontaneous painting. It is really very enjoyable and is a suitable vehicle for all people who are young at heart and like to play. I recommend this method and this book very highly.” Amit Goswami, quantum physicist and author of The Self-Aware Universe; God Is Not Dead; and the upcoming Quantum Creativity: Think Quantum, Be Creative “This is a truly brilliant and significant book - merits joyful reading and treasuring.” Prof. Dr. Ervin László, Founder of Club Budapest; Chancellor-Designate of the newly formed GlobalShift University; author of over 80 books, including The Creative Cosmos: A Unified Science of Matter, Life and Mind. The symbol is a universal resource which nature has bestowed upon us to evolve human consciousness. It embodies energy of pure potentiality that lives in a dormant state in our Unconscious. The process of Spontaneous Painting unleashes this powerful life force within. Each person’s unique potential, Authentic and Higher Self, life direction and Innate Authentic Multiple Intelligences flow forth through the brushstroke onto the paper. No artistic training is necessary. Once our symbols are expressed, a transformative process is activated that initiates behavioral change. Our symbols begin to direct us from within. Our Authentic Self is a core energetic configuration that is like no one else’s. Each one of us is a unique individual with special gifts, passions and a life purpose. Our Higher Self embodies such states as love, inner wisdom, centeredness, joy and compassion. The key to creating a new paradigm is to develop these constructive expressions of consciousness in each planetary citizen for personal and social transformation. Symbols express in the form of images. Why are images used to transmit this energy? Images are the primal universal language of humankind. The fact that the ability to make images has been with us since the beginning of time suggests it may possess an important survival function of which we are not yet aware. The name The I.am.I TM Method of Spontaneous Painting was chosen to honor our Innate Authentic Multiple Intelligences, hence the acronym I.am.ITM. These intelligences include our: emotional, creative, intuitive, imaginative, symbolic, spiritual, visual and kinesthetic ways of knowing. All of these intelligences are developed during The I.am.I Method. Although we are born with these intelligences and the ability to paint spontaneously, education has focused mainly on the rational intellect and on how to paint the external and not the internal landscape, a vast resource of inner wisdom. Part One of this book is an autobiographical summary of the experiences that led the author to develop The I.am.ITM Method of Spontaneous Painting. The paintings in Part Two document her empirical experimentation with Spontaneous Painting, sourced from the authority of her soul. Part Three is an academic exploration and a theoretical and scholarly documentation of the psychological and quantum states of mind that can be experienced during the Spontaneous Painting Process.
Dance marathons were a phenomenally popular fad during the manic 1920s and depressive 1930s. What began as a craze soon developed into a money-making business which lasted 30 years. Some 20,000 contestants and show personnel participated in these events; audiences, the majority women, totalled in the millions. "A Poor Man's Nightclub," dance marathons were the dog-end of American show business, a bastard form of entertainment which borrowed from vaudeville, burlesque, night club acts and sports.
What happens when a critique of modernity—a "revolt against the traditions of the Western world"—is situated within a non-European context, where the concept of the modern has been inevitably tied to the image of the West? Seiji M. Lippit offers the first comprehensive study in English of Japanese modernist fiction of the 1920s and 1930s. Through close readings of four leading figures of this movement— Akutagawa, Yokomitsu, Kawabata, and Hayashi—Lippit aims to establish a theoretical and historical framework for the analysis of Japanese modernism. The 1920s and 1930s witnessed a general sense of crisis surrounding the institution of literature, marked by both the radical politicization of literary practice and the explosion of new forms of cultural production represented by mass culture. Against this backdrop, this study traces the heterogeneous literary topographies of modernist writings. Through an engagement with questions of representation, subjectivity, and ideology, it situates the disintegration of literary form in these texts within the writers' exploration of the fluid borderlines of Japanese modernity.
This work features stories that teach us to tell time. Coming from a family that some would call addicted to storytelling, Sally Russell began listening nearly twenty years ago especially for stories that bring the past into the present. The subjects range from love, sex, and death to less weighty considerations such as journeys, building fires, cooking, and a variety of family matters. Beginning with her own family's account of what happened to them during the American Civil War and how those stories directly affected her life 125 years later, Russell shares the discovery of time-traveling through a range of tales that are humorous, historical, haphazard, heart-warming, and heartbreaking, often within the same story. For Russell, all stories, however personal or cultural, represent shared human history and form an intricate, original, and sheltering tapestry that belongs to all and represents a curious security in our future-shock world. Through beloved old stories and through new ones forming, threads of regret, sorrow, joy, wonder, courage, wisdom, beauty, and some other thing that isn't any of these things - perhaps the greatest mystery - are woven into a fabric that entertains, educates, and delights with scenes of days gone by, portraits of worthwhile people, and events that shaped our characters. Story-telling is an important vehicle by which we bond with each other in multiple dimensions and generations. The stories she shares show how story-telling gives us a latitude of home, to use an old nautical term, i.e., a reference point on our map of being that shows us where we came from. In a figurative sense, latitude of home is that place/time from which we start. Our stories, our family myths, give us the knowledge of our place in Time. Russell invites readers to consider their own repertoires of stories, what they can learn about and from their own family myth, and how they can share that myth to inform, delight and strengthen.
Offering a social and cultural history of the development of romantic love, this book explores women's interpretations of love, and presents the ways in which women over the centuries have responded to conventions of romance, gender and status, as well as the societies in which they moved and lived.