You can say the human heart is only make believe And I am only fighting fire with fire But you are still a victim Of the accidents you leave As sure as I'm a victim of desire Billy Joel In his book, Healing Fiction, James Hillman compares the ideas of Jung, Adler and Freud as …
It's easy to see how the capitalism of an economy structures the dynamics between people and sociopolitical relationships within a culture, particularly with an emphasis on people and resources in service of production and economic growth, rather than an economy in service of the people. When understood as one of the dynamics driving, not only …
Zeus "He was a sky god, associated with wind, rain, thunder, and lightning, and was the master of spiritual phenomena, since it was the spirit realm that was signified by the sky and the manifestations of the weather. He was a carrier of justice and judgment, an embodiment of law and the punisher of transgression …
Nature: Middle English (denoting the physical power of a person): from Old French, from Latin natura ‘birth, nature, quality,’ from nat- ‘born,’ from the verb nasci Might there not be something to the idea that "women will have rights as long as men see fit to allow for those rights, all the while calculating the …
Great writing by Paul DeFatta on the Dionysian influence on the life and death of Jim Morrison and the affects of the shift away from polytheism to monotheism.
Regardless of its merits as an accurate depiction of Jim Morrison, the Oliver Stone movie “The Doors” serves as a useful illustration of the risks and the dangers involved in becoming psychologically identified with a religious archetype—in this case the ancient pagan deity, Dionysus. At the same time, the film acknowledges and vicariously celebrates the imaginatively vitalizing and enriching effects produced by an influx of such “unauthorized” (by traditional Christianity) archetypal energy. As the movie progresses, Jim Morrison’s ego becomes increasingly identified with (or subsumed by, depending on the direction from which one approaches the situation) this age-old god of “divine madness,” leading eventually to the breakdown and disintegration of an inflated, Dionysus-and-Jack Daniels-intoxicated ego-personality. Of course, in chronicling the progressive dissolution and disintegration of his personality, the film unfolds like a cautionary tale. The rock star’s ego, failing to maintain even a faint toehold within the arenas of…
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