Download Adam's Dream: Mythic Consciousness in Keats and Yeats by James Land Jones PDF

By James Land Jones

The author's vital goal is to teach that the poetry of Keats and Yeats is expert via a suite of assumptions, a method of apprehension, which marks it as a undeniable type of poetry: Romantic poetry characterised specifically by way of the weather of mythic considering analyzed by means of Cassirer and Eliade.

Contents

Acknowledgments
Abbreviations
Introduction: The intent for Myth
Chapter One: Soul Making
I "Curious Conscience"
II "My robust identification, My genuine Self
III "A Greeting of the Spirit"
Chapter : solidarity of Being
I "Energy" and "Essence"
II "Beauty in All Things"
Chapter 3: The monstrous Idea
I "From Feathers to Iron"
II "An Interchange of Favors"
III "Time Annihilate"
IV "The Finer Tone"
Chapter 4: the good Moment
I "There the entire Gyres Converge in One"
II "Fellowship Divine"
Chapter 5: Melancholy's Sovran Shrine
I "The shorelines of Memory"
II the 2 Hyperions
Conclusion: Adam's Dream
Bibliography
Index

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Artaud's plans for subverting and revitalizing culture, h is longing for a new type of human personality illustrate the limits of all thinking about revolution which is anti-political. Cultural revolution that refuses to be pol itical has no· where to go but toward a theology of culture-and a soteriology. "I aspi re to another life," Artaud declares in 1927. All A rtaud·s work i s about salvation, theater being the means of saving souls which he meditated upon most deeply. Spiritual transformation is a goal on whose behalf theater has often been enlisted in this century, at least since Isadora Duncan.

What these doctrines have in com mon i s that they a re a11 relatively late, decadent transfor· mations of the Gnostic thematics. From Renaissance a lchemy Artaud d rew a model for his theate r : like the symbols of alchemy, theater describes "philosophical states of ma tter" and attempts to transform them. 58 Approaching A rtaud he was retu rned to France. But none of these already formulated, schematic, historically fossilized secret doc· trines could contain the convulsions of the l iving Gnostic imagi nation in A rtaud's head.

However, because it was not as an actor but as a d i rector that he hoped to advance the candidacy of these arts, he soon had to renounce one of them-cinema. Artaud was never given the means to d i rect a film of his own, and he saw his inten­ tions betrayed in a film of 1 928 that was m ade hy another d i rector from one of his screenplays, The Seashell and the Clergyman. His sense of defeat was reinforced in 1929 by the arrival of sound, a turning point in the history of film aestheti cs which Artaud wrongly prophesied-as did most of the small number of moviegoers ·who had taken films seriously throughout the n ineteen-twent ies-would termi­ nate cinema's greatness as an art form.

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