The aim of this volume is "a structural analysis of an archetype… to show its inner growth and dynamics, and its manifestation in the myths and symbols of mankind." Describing an archetype's structure is difficult. The phenomenology of its workings "extends from the unconscious instinctive drive of the primitive… to the formulation of concepts and beliefs in the philosophical systems" of modern man. An indication of the scope of the treatise is afforded by representative chapter headings: The two characters of the feminine; The central symbolism of the feminine; The phenomenon of reversal and the dynamic of the archetype; The primordial goddess; The lady of the plants; Spiritual transformation. The text is translated from the German by Ralph Manheim. 14-page bibliography. 185 pages of plates. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The aim of this volume is to present the psycho-historical theory of culture and to illustrate it by reference to some typical forms of art. The development of the theory is presented in Part 1 (9 chapters). Part 2's 6 chapters include a psycho-historical study of medieval Western culture and its lost backgrounds. The final part (4 chapters) considers aspects and implications of the psycho-historical point of view. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
En este libro, Maritain propone llevar a cabo la distinción indisoluble entre arte y poesía. Discute la poesia de Eliot y Thomas, la pintura de Rovalt y Picasso, la música de Bach y Mozart, la filosofía de Platón, Aristóteles y Santo Tomás de Aquino.
As an artist I am in a situation right now where certain “significant” modern forms do not signify very much to me. They should, I suppose, and maybe they will at some future time, but I do not particularly have that drive at present. For a reason.
Life today is very bewildering. We have no picture of it which is all-inclusive, such as former times may have had. We have to make a choice between concepts of great diversity. And as a common ground is wanting, we are baffled by them. We must find our way back to simplicity of conception in order to find ourselves. For only by simplicity can we experience meaning, and only by experiencing meaning can we become qualified for independent comprehension.
The contemporary sculptor must be concerned with these two ideas: (1) his basic, individual responsibility to experiment and to evaluate his experiments, and (2) articulation of space as form, which springs from this same responsibility of experimentation and evaluation. These ideas have not suddenly appeared in the twentieth century. They have evolved through many divers paths from the invention of an essentially anti-esthetic object to their present form in modern thinking.