By Joseph Campbell
Essays through Julius Baum, C. G. Jung, C. Kernyi, Hans Leisegang, Paul Masson-Oursel, Fritz Meier, Jean de Menasce, Georges Nagel, Walter F. Otto, Max Pulver, Hugo Rahner, Paul Schmitt, and Walter Wili.
Read Online or Download Man and Time: Papers from the Eranos Yearbooks (Bollingen Series) PDF
Best folklore & mythology books
Download e-book for iPad: The Complete Idiot's Guide to Classical Mythology, 2nd by Kevin Osborn
An exploration of undying legends. First informed centuries in the past, the traditional myths of the Greeks and Romans proceed to fascinate and effect the realm this day. The accelerated version of this renowned advisor examines why those legends stay a vital part of human heritage, bringing up their literary worth, and their presence all through pop culture in such works as J.
The Three Boys: And Other Buddhist Folktales from Tibet - download pdf or read online
A virtuous younger girl trips to the Land of the lifeless to retrieve the still-beating middle of a king; a wily corpse-monster tips his younger captor into surroundings him unfastened; a king falls lower than a curse that turns him right into a cannibal; a shepherd who knows the speech of animals saves a princess from convinced loss of life.
Download e-book for iPad: Laughter: The Navajo Way by Alan Wilson
Every one tale is gifted in Navajo with a word-for-word translation, colloquial English equivalents, and an evidence of the tale with cultural notes. 1 audio CD (80 min. ) & a 157-p. textual content. Product no. AFNV30D
- The myths of Rome
- Man and Time: Papers from the Eranos Yearbooks
- When Dreams Came True: Classical Fairy Tales and Their Tradition, Second Edition
- Vikings (Barbarians!)
- The Oral Tradition of the Baganda of Uganda: A Study and Anthology of Legends, Myths, Epigrams and Folktales
Additional info for Man and Time: Papers from the Eranos Yearbooks (Bollingen Series)
Sample text
In this sense, the timelessness of art can be experienced only by an enhanced consciousness, for what figure of Christ can be fully understood without knowledge of Christianity, what Buddha without Buddhism, what Shiva without the Hindu conception of cosmic cycles? Is then the stage of transcendent art an illusion? Can we really know nothing more than the relation of the work of art to ourselves and to its own time? And is the most we can say of an artist that, if we disregard the eternity of the archetype he represented, he was a hair's breadth in advance of his own time?
Here, too, we are the heirs of a tradition which taught us to see, hear, and experience anew. Where there is new knowledge of man, new art will be discovered, and the eternal in the art of the past will be discovered afresh. In this sense, the timelessness of art can be experienced only by an enhanced consciousness, for what figure of Christ can be fully understood without knowledge of Christianity, what Buddha without Buddhism, what Shiva without the Hindu conception of cosmic cycles? Is then the stage of transcendent art an illusion?
A similar conflict dominates the relation of the artist to his collective and his time. If he is driven to compensate for the cultural canon, there is an implication that he has been captured by it and has survived and transcended it in himself. Only by suffering, perhaps unconsciously, under the poverty of his culture and his time can he arrive at the freshly opening source which is destined to quench the thirst of his time. In other words, the creative man (though often this is not evident) is deeply bound up with his group and its culture, more deeply than the common man who lives in the security of the cultural shell, and even more deeply than the actual representatives of this culture.
