From Christian believers in the Apocalypse and the Rapture to New Age enthusiasts of prophecies concerning the year 2012, Doomsday lore has been a part of culture, a myth that colors how we perceive the world. Why do we remain obsessed with Doomsday myths even when they fail to materialize? What if we haven’t recognized the true message of these myths? Blending history, psychology, metaphysics, and story, philosopher and author Joseph Felser explores the spiritual questions raised by these enduring myths. Along the way he consults the work of Joseph Campbell, Carl Jung, Marie-Louise von Franz, Black Elk, Wovoka, Itzhak Bentov, Jane Roberts, Seth, Hermann Hesse, Ingo Swann, David Bohm, Fred Alan Wolf, J. Allen Boone, William James, and Robert Monroe through ever-widening circles of understanding. Felser suggests that our obsession with “The End of the World” hides a repressed, healthy longing for reconciliation with our inner and outer worlds--with nature and our own natural spirituality. He urges us to recognize and act upon that longing. When we begin to listen to nature’s voice and pay heed to our own dreams--including visions, intuitions, and instinctive promptings--the greatest revolution in all history will unfold. We can create a future of our own choosing, a beginning rather than an ending.
WINNER OF THE PULITZER PRIZE A new and eye-opening interpretation of the meaning of the frontier, from early westward expansion to Trump’s border wall. Ever since this nation’s inception, the idea of an open and ever-expanding frontier has been central to American identity. Symbolizing a future of endless promise, it was the foundation of the United States’ belief in itself as an exceptional nation – democratic, individualistic, forward-looking. Today, though, America hasa new symbol: the border wall. In The End of the Myth, acclaimed historian Greg Grandin explores the meaning of the frontier throughout the full sweep of U.S. history – from the American Revolution to the War of 1898, the New Deal to the election of 2016. For centuries, he shows, America’s constant expansion – fighting wars and opening markets – served as a “gate of escape,” helping to deflect domestic political and economic conflicts outward. But this deflection meant that the country’s problems, from racism to inequality, were never confronted directly. And now, the combined catastrophe of the 2008 financial meltdown and our unwinnable wars in the Middle East have slammed this gate shut, bringing political passions that had long been directed elsewhere back home. It is this new reality, Grandin says, that explains the rise of reactionary populism and racist nationalism, the extreme anger and polarization that catapulted Trump to the presidency. The border wall may or may not be built, but it will survive as a rallying point, an allegorical tombstone marking the end of American exceptionalism.
A mesmerizing debut novel for fans of Madeline Miller's Circe. Ariadne, Princess of Crete, grows up greeting the dawn from her beautiful dancing floor and listening to her nursemaid’s stories of gods and heroes. But beneath her golden palace echo the ever-present hoofbeats of her brother, the Minotaur, a monster who demands blood sacrifice. When Theseus, Prince of Athens, arrives to vanquish the beast, Ariadne sees in his green eyes not a threat but an escape. Defying the gods, betraying her family and country, and risking everything for love, Ariadne helps Theseus kill the Minotaur. But will Ariadne’s decision ensure her happy ending? And what of Phaedra, the beloved younger sister she leaves behind? Hypnotic, propulsive, and utterly transporting, Jennifer Saint's Ariadne forges a new epic, one that puts the forgotten women of Greek mythology back at the heart of the story, as they strive for a better world.
"A myth about the end of the world, the Ragnarok, was told among Viking Age Scandinavians. It is here reconsidered against a comparative background. The signs of the end, the final battle, the destruction and renewal of the world are the main themes distinguished. The myth was handed down in a Christian medieval context and the problem of Christian influence is thoroughly discussed. Particular attention is given to the Old Norse homilies as instruments of conveying Christian teachings to both the elites and the common people. The comparative framework is set up by traditions on the end of the world in early Judaism, Christianity, Islam, the Graeco-Roman world, Celtic Europe as well as ancient Iran and India. The geographical area covered by these traditions formed a network of cultural contacts providing possibilities of various influences. These texts are studied in their own right to avoid superficial paralleling. The analogies with Iranian traditions are striking and include the idea of the cosmic tree, the role of number 'nine', and the myth of the heavenly warriors"--
The History of Middle-earth traces the evolution of J.R.R. Tolkien's literary world, stories, and characters from their earliest written forms to the final revisions Tolkien penned shortly before his death in 1973. Published posthumously by Tolkien's son Christopher, the extensively detailed 12-volume work allows readers to follow the development of the texts that eventually became Tolkien's immensely popular The Hobbit, The Lord of The Rings, The Silmarillion, and Unfinished Tales. This work provides a thorough study of Tolkien's life and influences through an analysis of The History of Middle-earth. The work begins with a brief biography and an analysis of the major influences in Tolkien's life. Following chapters deal with elements common to Tolkien's popular works, including the cosmogony, theogony, cosmology, metaphysics, and eschatology of Middle-earth. The study also reviews some of the myths with which Tolkien was most familiar--Greek, Roman, Finnish, and Norse--and reveals the often overlapping relationship between mythology, biblical stories, and Tolkien's popular works.
Crossing the Event Horizon provides evidence that we are, both individually and collectively, hurtling toward an evolutionary event horizon. Using the tools of Jungian psychology, the nature of the singularity is defined by its myriad manifestations emerging from the collective unconscious. These include dreams, motifs and themes found in art, science fiction and fantasy literature and films, religious cults, and the paranormal, especially near-death experiences and UFO encounters. Key aspects of the Singularity Archetype include: "Logos Beheld" (visually comprehended linguistic intent often associated with a collective telepathic network), Homo gestalt (a new species where individuality is conserved but also telepathically networked), and a parallelism between the individual event horizon of death and eschaton (the collective event horizon of the species). Apocalypticism is analyzed as an example of the Singularity Archetype pathologizing. A study of the Heaven's Gate saucer/suicide cult illustrates what can happen when people become possessed by the Singularity Archetype and are driven by it into delusory projections. The Singularity Archetype is viewed apocalyptically by the ego, and as a transcendent evolutionary event by the Self, and the duality of these views is explored in many examples. The evolutionary origins of the ego and its metamorphosis as it approaches the event horizon are explored. Evolutionary theory, which relates to the Singularity Archetype through a number of dynamic paradoxes, is discussed. Many popular books and movies are analyzed as permutations of the Singularity Archetype, including: Avatar, Childhood's End, Village of the Damned, Powder, and 2001: A Space Odyssey.The Singularity Archetype is a primordial image of human evolutionary metamorphosis which emerges from the collective unconscious. How the Archetype Manifests (a Composite Picture)A rupture-of-plane event occurs, usually threatening the survival of the individual and/or species.The event is a shock that disrupts the equilibrium of body/physical world and also individual/collective psyche. It is an ontological shock that will be viewed as the worst thing possible by individual/ collective ego. There is another rupture of plane that may actually be the same rupture as above but seen from a cosmic rather than a personal view. The shock is revealed to be a transcendent evolutionary event. The revelation of the transcendent aspect will often involve spiral motifs and unusual lights. Consciousness and communication metamorphose and with them core aspects---ego, individuality, connection to linear time, corporeality, gender identification, social order, etc.---fundamentally transform. There is a vision or actualization of release from some or all limits of corporeal incarnation and the emergence of "glorified bodies," which have enhanced powers and various degrees of etherialization. More visual and telepathic modes of consciousness and communication emerge, and this is part of a transformation of individuality into "Homo gestalt"---a new species where individual psyches are networked telepathically. The Singularity Archetype may be experienced and even actualized to various degrees by an individual through transcendent and/or anomalous experiences such as near-death experiences (NDEs), UFO/abduction/close encounter experiences, kundalini and psychotropic episodes.As with encounters with all archetypes, individuals and groups attach idiosyncratic material to it, such as particular end dates and scenarios. Another way of defining the Singularity Archetype (in its collective form) is as a resonance, flowing backward through time, of an approaching Singularity at the end of human history. The Singularity Archetype relates to both the evolutionary event horizon of the species and, for the individual, the event horizon of death.
The One Mind: C. G. Jung and the Future of Literary Criticism explores the implications of C. G. Jung's unus mundus by applying his writings on the metaphysical, the paranormal, and the quantum to literature. As Jung knew, everything is connected because of its participation in universal consciousness, which encompasses all that is, including the collective unconscious. Matthew A. Fike argues that this principle of unity enables an approach in which psychic functioning is both a subject and a means of discovery—psi phenomena evoke the connections among the physical world, the psyche, and the spiritual realm. Applying the tools of Jungian literary criticism in new ways by expanding their scope and methodology, Fike discusses the works of Hawthorne, Milton, Shakespeare, Wordsworth, and lesser-known writers in terms of issues from psychology, parapsychology, and physics. Topics include the case for monism over materialism, altered states of consciousness, types of psychic functioning, UFOs, synchronicity, and space-time relativity. The One Mind examines Goodman Brown's dream, Adam's vision in Paradise Lost, the dream sequence in "The Wanderer," the role of metaphor in Robert A. Monroe's metaphysical trilogy, Orfeo Angelucci's work on UFOs, and the stolen boat episode in Wordsworth's The Prelude. The book concludes with case studies on Robert Jordan and William Blake. Considered together, these readings bring us a significant step closer to a unity of psychology, science, and spirituality. The One Mind illustrates how Jung's writings contain the seeds of the future of literary criticism. Reaching beyond archetypal criticism and postmodern theoretical approaches to Jung, Fike proposes a new school of Jungian literary criticism based on the unitary world that underpins the collective unconscious. This book will appeal to scholars of C. G. Jung as well as students and readers with an interest in psychoanalysis, literature, literary theory, and the history of ideas.
Millennial movements have had a significant impact on history and lie behind many artistic and scientific views of the world. 'The End that Does' tracks the interplay of the arts, sciences, and millennial imagination across 3000 years. The volume presents essays ranging across the study of ancient ritualistic sacrifice, utopian technology and the American millennial dream, science fiction, and the apocalypse of the tabloids. The End that Does will be invaluable to any student or scholar interested in the history of millennialism.
This in-depth series of literary portraits studies celebrities who died in famous and tragic ways—ways that still resonate as archetypal death scenarios in present day. We know their likes and dislikes, admire their talents, envy them for daring to be what we can't or what we won't. When they are snatched from us, we feel a personal loss and an unwillingness to let go. And so we transform these mere human beings into icons whose stars often shine in death even more brilliantly than in life. Dead Celebrities, Living Icons: Tragedy and Fame in the Age of the Multimedia Superstar explores this phenomenon through a series of essays on 14 men and women who are, arguably, the most famous people of the 20th and early 21st centuries. The book covers the epoch of the celebrity beginning in the 1930s with Howard Hughes and Walt Disney and continues to the present day with the life and death of Michael Jackson. Far more than just a collection of biographies, Dead Celebrities, Living Icons documents the philosophical importance and significance of the contemporary cult of the celebrity and analyzes the tragic consequences of a human life lived in the glare of the media spotlight.
An ambitious reinterpretation and defense of Plato’s basic enterprise and influence, arguing that the power of his myths was central to the founding of philosophical rationalism. Plato’s use of myths—the Myth of Metals, the Myth of Er—sits uneasily with his canonical reputation as the inventor of rational philosophy. Since the Enlightenment, interpreters like Hegel have sought to resolve this tension by treating Plato’s myths as mere regrettable embellishments, irrelevant to his main enterprise. Others, such as Karl Popper, have railed against the deceptive power of myth, concluding that a tradition built on Platonic foundations can be neither rational nor desirable. Tae-Yeoun Keum challenges the premise underlying both of these positions. She argues that myth is neither irrelevant nor inimical to the ideal of rational progress. She tracks the influence of Plato’s dialogues through the early modern period and on to the twentieth century, showing how pivotal figures in the history of political thought—More, Bacon, Leibniz, the German Idealists, Cassirer, and others—have been inspired by Plato’s mythmaking. She finds that Plato’s followers perennially raised the possibility that there is a vital role for myth in rational political thinking.
