The relationship between the human soul and the stars has been central to the spiritual and esoteric traditions of Western thought, and many other cultures, for thousands of years. Medieval Christians thought that heaven was located above the earth, beyond the stars. Our modern society, however, has largely severed the relationship between the human spirit and the sky.This book explores ideas, beliefs and practices which meet at the boundary of psychology and cosmology, the universe and human imagination. This book addresses this special relationship from a variety of challenging and inspiring approaches. The contributors include James Hillman, the founder of archetypal psychology and Jungian analyst; astrologer Liz Greene; Professor Neville Brown of Mansfield College, Oxford; Nicholas Pearson of the Temenos Academy; Professor Jarita Holbrook of the University of Arizona; Dr Angela Vos of the University of Kent; Bernadette Brady; Jules Cashford; Noel Cobb, the former editor of Sphinx; Cherry Gilchrist; Robert Hand; and Professor Richard Tarnas of the California Institute of Integral Studies.
In this thought-provoking new book, Bruce Lerro offers a speculative reconstruction of the sacred beliefs and practices of cultures existing between 30,000 and 500 B.C.E. Lerro describes how material changes in various social formations--including hunting-gathering bands and horticulturalists in villages--were responsible for the shift from magic to realism, from the belief in earth spirits to faith in sky gods. Drawing from such diverse theorists as Marx and Engels, Vygotsky, Piaget, and George Herbert Mead, Lerro critiques and transforms mechanical, humanistic, new age, and countercultural perspectives on the history of sacred traditions. This study of comparative religion and mythology has important applications for the fields of archaeology, evolutionary anthropology, sociology, political science, and comparative psychology.
Under Any Sky: Contemporary Readings of George Santayana is a testament to the cross-cultural relevance of the work of one of the leading intellectuals of the twentieth century, George Santayana (1863-1952, birth name Jorge Agustín Nicolás Ruiz de Santayana). A list of geographic origins of the twenty-two contributions contained in this volume indicates the transatlantic cultural diversity of scholarly representation: scholars variously hailing from Canada, Germany, Italy, Spain, Poland, Slovakia, and Switzerland, and from the United States, representing three of its major regions. The authors explore the major plots of Santayana's thinking, including materialistic Platonism in ontology, skepticism in epistemology, rationality in social philosophy, naturalism in aesthetics, piety in materialism, and literary and poetic expression as a means to cosmic understanding. After a preface by Professor John Lachs (also a contributor), and an editorial introduction, the book is divided into three respective thematic parts: I. Ontology and Naturalism; II. Culture, Society, America; and III. Aesthetics, Poetry, and Spirit. Before each thematic section brief introductions of the section papers is provided to accommodate specific scholarly interests. The authors entrust the present volume to readers appreciative of the philosophic catholicity of the subject's work, invoking the book title which is taken from the preface of Santayana's mature system of philosophy, Scepticism and Animal Faith: "In the past or in the future, my language and my borrowed knowledge would have been different, but under whatever sky I had been born, since it is the same sky, I should have had the same philosophy"
Set in the last days of a still Bohemian Greenwich Village, this memoir is the story of a young girls awakening and growth, told through letters and journal entries. Her adventures lead to a summer working with Georgia OKeeffe, encounters with several atists before their fame--Wilhelm and Elaine deKooning, Franz Kline, Joachim Probst, writer Maxwell Bodenheim and later, Joseph Heller. The year is 1942, the time of the second World War and the beginning of recovery from the Great Depression. Defense plants are booming; meat, sugar, and butter are rationed, as well as gasoline. Government ration books are a must, the draft is on and young men are being conscripted into the service. For the first time, women are allowed to work at mens jobs. Marjorie, not yet twenty-one, uncomfortable with men, decides to become a lesbian and devote her life to writing. She considers herself a poet, and escapes much of the influence of the war by moving to Greenwich Village. But when she becomes involved with a group of artists and loses her virginity to Joachim (Jack) Probst, a member of the group, her lesbian dreams fade. Probst renames her Carol, her middle name, and they live together for two years. Wickie, her best friend, and recipient of most of the early letters, is the opposite of Marjorie, now Carol. Raised in Europe, the daughter of an ambassador, Wickie is sophisticated, worldly, secure in her self-image. Carol is curious, adventurous, uncertain, insecure. She met Wickie while she was selling magazines cross-country and they became instant friends. She expects someday to be transformed, to automatically become very wise. The magic age is thirty. Her life with Probst has many twists and turns: infidelities, separations, money problems. In a get-away to San Francisco she becomes an artists model, a hat check girl, rides the cable cars, discovers French poets, and North Beach. Her adventures there with a friend, Babs, yield a sense of joy which she had not had in New York. But when Babs becomes ill, its back to New York, to Probst and inner turmoil. She becomes pregnant and Probst leaves her. As a mother, Carol continues her Bohemian life, boarding her daughter whom shes named Lilith (the Goddess in George Bernard Shaws play, Back To Methuselah.) After a failed romance, which nets her an apartment, she falls in love with Arthur Gunn, a painter, exactly her fathers age, who plays Pygmalion to her Eliza Doolittle. He is committed to transforming her-- to making her into a lady, and she is completely open to it. She sees him as very wise. It is through him that she first learns about OKeeffes work, in a retrospective at the Whitney. Arthur gives up on her transformation and Carol betrays him with Ernest Guteman, a sculptor she is posing for. There is a terrifying night when she is in bed and hears Arthur sharpening knives. After that incident she moves in with Guteman and they bring Lilith, now three years old, to live with them. It is through Ernest that she meets Georgia OKeeffe and spends a summer working with her. A very important time for Carol, the OKeeffe influence is felt for the rest of her life. At Liliths nursery school, Carol becomes friends with one of the teachers and through her is introduced to Richard, a young writer-painter, who is working on his PHD at NYU and teaching English at Penn State. They fall in love and eventually marry, making their home in State College, Pennsylvania. Lilith begins first grade. Marriage creates many problems, much adjusting as they learn to be a family. Carol keeps busy with writing, taking jewelry-making at the college, and learning to cook. After four years in Pennsylvania, living next to an abandoned apple orchard, getting used to being in the country, Richard applies for, and is hired at Long Beach State Co
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In this profoundly original and far-reaching study, Robert M. Polhemus shows how novels have helped to make erotic love a matter of faith in modern life. Erotic faith, Polhemus argues, is an emotional conviction—ultimately religious in nature—that meaning, value, hope, and even the possibility of transcendence can be found in love. Drawing on a wide range of disciplines, Polhemus shows the reciprocity of love as subject, the novel as form, and faith as motive in important works by Jane Austen, Walter Scott, the Brontës, Dickens, George Eliot, Trollope, Thomas Hardy, Joyce, D. H. Lawrence, Virginia Woolf, and Samuel Beckett. Throughout, Polhemus relates the novelists' representation of love to that of such artists as Botticelli, Vermeer, Claude Lorrain, Redon, and Klimt. Juxtaposing their paintings with nineteenth- and twentieth-century texts both reveals the ways in which novels develop and individualize common erotic and religious themes and illustrates how the novel has influenced our perception of all art.
In this innovative volume, Jay McDaniel creatively weaves various strands of contemporary theology into a vibrant pattern for an ecological spirituality. Influenced by process theology, the author synthesizes core insights of feminism, liberation theology, creation theology, and world religions. He focuses this varied knowledge around the central theme of an ecologically sound and nurturing faith. The work is strengthened by provocative study questions, an insightful appendix on the role of silence in ecological spirituality, and a comprehensive, annotated bibliography.