The New Gods: Psyche and Symbol in Popular Art by Harold Schechter PDF

By Harold Schechter

Harold Schechter appears to be like on the very unlikely stories and pictures of renowned art--the area odysseys and extraterrestrial civilizations, the caped crusaders and males of metal, and monsters from the sea floor--and reveals shut connections among non secular fantasy and renowned entertainment.

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Extra info for The New Gods: Psyche and Symbol in Popular Art

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Ultimately, he becomes a lawyer and moves to the city. Lewt, on the other hand, is an agent of disorder, the opposite of his brother in every way. Whereas Jesse is always attired in neat, brightly colored outfits and drives rather primly to town in a buckboard, Lewt wears dark, rugged work clothes and gallops bareback across the prairie on a high-spirited pinto pony. And whereas Jesse is their mother's favorite, Lewt is their father's. Violent, passionate, reckless, he becomes a fugitive after killing a cowhand who intends to marry Pearl Chavez-Lewt's spurned mistress-and turns to blowing up trains as a way of helping out his father.

Hawthorne's Young Goodman Brown is a perfect example of a man who flees in horror from his single glimpse of his soul's shadow side, and thereafter defends himself against the recognition of his own guilt-ridden impulses by attributing them to everyone but himself. Besides manifesting itself in possession and projection, the shadow can also be seen, in our day-to-day lives, in dreams, where The Realization of the Shadow 33 it appears in personified form as "a dark figure ofthe same sex as the dreamer"3-a figure that, despite its strange, sinister, or even repulsive qualities, nevertheless often seems dimly, disconcertingly familiar.

Though Morbius has used the highly advanced technology of an extinct alien race called the Krell to create an Edenic abode for himself and his daughter, the visitors soon discover that there is a terrifyingly destructive creature at large on the planet: a black, formless thing that attacks them with demonic fury. " Unlike his Shakespearean prototype, however, the scientist lacks the wisdom to come to terms with the hateful thing that is the expression of his own repressed rage. He tries to undo the damage he has caused by repudiating the creature, and is destroyed in the act of denying it.

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