By Karl Kerenyi
Read or Download Apollo: The Wind, the Spirit, and the God : Four Studies (Dunquin Series) PDF
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Extra resources for Apollo: The Wind, the Spirit, and the God : Four Studies (Dunquin Series)
The right brain, the place of "the Gods," produced voices and visions that the left brain would obey without free choice or conscious decisions. The left brain would speak and think without the sense of an internal cognition. Achilles in the Iliad represents an example of the bicameral mind. " Although he tends to rely on biological determinism, he connects the dissolution of the bicameral mind to subjective consciousness's relation to language.
Just as the Mustang driver seemed to steer through world history, individuals, in contemporary society, seemed not to notice the predetermined track pulling their myth-cars along. What a perfect image of the machinations of ideology and mythology! The nuances of this ride have important implications for understanding how it also serves to explain artificial mythology as well. The 1964 World's Fair displayed a tone and design quite different from the 193940 fair at the same location. The earlier fair had a futuristic monu- 8 Artificial Mythologies and Invention mentality, while this fair had signs of a pop-art aesthetic everywhere: a giant tire, giant pop-art prints on the side of one building, the moving sidewalk, which took visitors on a visit with a computerized pope, and so on.
The significant accomplishment in inventing the punctum has less to do with a neophenomenology, as some critics have claimed, than with a term to describe an activity in relation to knowledge. He does not oppose the punctum to the studium, everything one learns in school. Rather Barthes describes an interaction between analytic knowledge and pragmatic practice. He demonstrates how media action can commingle productively with more traditional scholarship. The relationship resembles the play between sprezzatura, the ability to speak as if on the spur of the moment and to have a sense of timing and humor, and mediocrita, the practice and knowledge that the speaker draws on when speaking.