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1. RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : CHAPTER : [Quantavolution Website]
... Quantavolution.Org E-MAIL: firstname.lastname@example.org TABLE OF CONTENTS RECOLLECTIONS OF A FALLEN SKY VELIKOVSKY AND CULTURAL AMNESIA CHAPTER FIVE SHAKESPEARE AND VELIKOVSKY Catastrophic Theory and the Springs of Art Irving Wolfe Etudes Anglaises Université de Montreal *[ Ed.Parts of this paper were subsequently published in Kronos: A journal of Interdisciplinary Synthesis, (Kronos Press, Glassboro, N. J.) see 1( 3): 31-45 (Fall 1975) and 1( 4): 37-54 (Winter 1976). I must begin with several caveats. First, I do not present these findings as a closed and substantiated set of hypotheses. They are suggestions put forth for discussion, not conclusions, but beginnings. Second, they are part deductive, part inductive, as they must be when one is mapping out terra incognita. Third, because I am addressing an audience fairly specialized in the sciences, but less specialized in literature and drama, I feel I can refer to the Velikovsky background briefly, but that I must treat the action of the plays in some detail. Now ...
... turns heaven into hell. In other words, the attractions and repulsions between these highly-charged bright bodies in the dark sky create havoc. Theseus is shown to possess a similar celestial dimension. On the one hand, he is the base or ground upon which the action occurs, symbolizing the Earth in its stable form, mature love, wise attraction, a figure... representing a harmony and order in civil government which reflects the harmony and order of nature.(33) Such is not the whole picture, however. Shakespeare would undoubtedly have read of Theseus in Plutarch's Lives of the Noble Grecians and Romans, translated by Sir Thomas North. There, he would have found Theseus linked with a Roman figure, as were all the Greeks in the book. In this case, Plutarch compares Theseus with Romulus, best known as the founder of Rome and representative of political and marital stability. But Romulus has another significance, a more deeply repressed one, quite opposite to the first. He is identified by Velikovsky with the catastrophic near-collisions of Earth, ...
3. Astrophysicist Finds New Scientific Meaning in Hamlet [SIS Internet Digest $]
... Digest 1997:1 (Sep 1997) Home¦ Issue Contents Astrophysicist Finds New Scientific Meaning in Hamlet January 13, 1997. A paper read today at the American Astronomical Society meeting in Toronto, Canada, offers a new interpretation of Shakespeare's play Hamlet. The paper, by Peter D. Usher, professor of astronomy and astrophysics at Penn State, presents evidence that Hamlet is "an allegory for the competition between the cosmological models of Thomas Digges of England and Tycho Brahe of Denmark." Usher says the paper is significant because Shakespeare favours the Diggesian model, which is the forerunner of modern cosmology. "As early as 1601, Shakespeare anticipated the new universal order and humankind's position in it," Usher states. "The play therefore manifests an astronomical cosmology that is no less magnificent than its literary and philosophical counterparts." Claudius Ptolemy perfected a model of the universe in the second century A.D. that remained the standard model into the sixteenth century. In this model, the Earth was stationary at the centre of the universe and everything else revolved around ...
4. Bronson Feldman, 1914-1982: A Biographical Note [Catastrophism & Ancient History Journal $]
... , as a boy in South Philadelphia he studied Hebrew at the cheder of Samuel Noah Kramer. He came to think of Kramer, to a large extent, as his mentor, and there can be little doubt that Krainer's studies of Sumer served as models of scholarship for Feldman. Second, Feldman, from 1932 until his death, was active in the reconstruction of Elizabethan literature and history prompted by J. Thomas Looney's identification of Edward de Vere, Earl of Oxford, as the actual man behind the pen name, "William Shakespeare." Feldman's immense labors in the field of literature resulted in numerous articles in the International Journal of Psychoanalysis, the American Imago, the Shakespeare Fellowship Quarterly, the Shakespeare Oxford Society Newsletter, and The Bard (London), and two books, Hamlet Himself andthe yet-to-be-published Early Shakespeare;these had established him as a master literary and historical detective. His emphasis in the Shakespeare work, as in his Velikovskian work, was always to give literary or historical documents a concrete reality-- in Shakespeare's phrase, a local habitation ...
... . There is a danger of the annihilation of the tribe. As a result, the country is under a pall. Its communal life appears desolate, for Theseus is forced to command his master of the revels Go, Philostrate, Stir up the Athenian youth to merriments, Awake the pert and nimble spirit of mirth, Turn melancholy forth to funerals; The pale companion is not for our pomp. (1.1 11-15.) In a country like Elizabethan England, which was given to dazzling and elaborate pageantry on state occasions, Shakespeare writes a play in which, four days before a royal marriage, the monarch must plead for youth to be merry, mirth to be awakened, and melancholy to be thrown out as more suitable to funerals. Things are not well in Athens. There is special significance, however, to the malaise of the city. It is not simply social, nor political; it is cosmic. It infects every level and dimension of Athens' existence, both terrestrial and celestial, physical and metaphysical. Titania sets forth the extent ...
6. "Heaven and Earth": Catastrophism in Hamlet [Kronos $]
... From: Kronos Vol. III No. 4 (Summer 1978) Home¦ Issue Contents "Heaven and Earth": Catastrophism in Hamlet Irving Wolfe Editor's Note: This article, being published in KRONOS in more than one part, is part of a chapter taken from Prof. Wolfe's forthcoming book, Shakespeare and Velikovsky: Collective Memory and the Springs of Art. It is KRONOS' desire to distribute the book domestically in the United States. (See Notices in this issue for further information.) Copyright (C) 1978 by Irving Wolfe Part I Hamlet is a play that has been approached from so many angles that, if one wished to construct a physical model to represent this phenomenon, it would look like an overcrowded pincushion. So many people have had their say on the issue of this drama's meaning, nature, structure, and components that the result is bewildering to the nonspecialist and a jangle of "schools" to the specialist. Nevertheless, I wish to add one more analysis. I do not say it will unlock all of ...
7. Contributors [Kronos $]
... , Univ. of Pa.); Professor of Art History at the Moore College of Art, Philadelphia. Prof. Greenberg is the co-author of An Introduction to Ancient Art and Architecture and has been an Associate Editor of the journal Pensee to which he contributed several articles. He has also published in Science, Biblical Archaeology Review, Astronomy, and SIS Review. Richard J. Jaarsma (Ph.D., Rutgers Univ.); Professor of English at the William Paterson College of New Jersey. His previous publications include essays on Shakespeare, Oliver Goldsmith, and T. S. Eliot in such journals as Literature and Psychology, Studies in Short Fiction, Texas Studies in Literature and Language, Notes and Queries, and Tennessee Studies in Literature. He is presently working on a book on Shakespeare. Peter J. James (B.A.- Hons.- Birmingham Univ.); Mr. James is a graduate in ancient history and archaeology and a specialist in Mesopotamian Studies. He is also an Assistant Editor of SIS Review to which he has contributed numerous ...
8. A Note On Shakespeare's Cataclysmic Imagery [Kronos $]
... ancient times, whose records Immanuel Velikovsky has charted in Worlds in Collision, Ages in Chaos, et al. Casual readers may be inclined to take the position that my findings about the catastrophic nature of Shakespeare's time may obscure and perhaps vitiate Professor Wolfe's argument. Why, one might be tempted to say, look for Velikovskian explanations for Shakespearean obsession with catastrophe when the facts Jaarsma has uncovered provide a perfectly reasonable raison d'être for it? Such a view, however, is too facile an explanation for the catastrophism in the plays of Shakespeare and, indeed, in the writings of his contemporaries, be they playwrights, essayists, theologians, almanac writers, or poets. Though I nowhere mention the name of Dr. Velikovsky in my essays, it may be of interest to readers of KRONOS to know that I first came to my own thesis about Shakespeare's imagery through a reading of Velikovsky's work, particularly those sections of Worlds in Collision in which Velikovsky examines the imagery of the ancients, not as metaphor, but as representations of facts. Could such a commonsensical ...
9. Contributors [Kronos $]
... School at Houston. Michael E. Brandt (B.S., Polytechnic Institute of New York); Mr. Brandt is Executive Vice President of Technical Operations for Synergos Inc. His present interests include artificial intelligence, microcomputers, and neuropsychology. He has been a technical writer for the past three years for such diverse firms as IBM, Technicon, and Bell Laboratories. Richard J. Jaarsma (Ph.D., Rutgers Univ.); Professor of English at the William Paterson College of New Jersey. His previous publications include essays on Shakespeare, Oliver Goldsmith, and T. S. Eliot in such journals as Literature and Psychology, Studies in Short Fiction, Texas Studies in Literature and Language, Notes and Queries, and Tennessee Studies in Literature. He is presently working on a book on Shakespeare. Shulamit Kogan (B.A., Hunter College; B.A., Seminary College of Jewish Studies, N.Y.); Mrs. Kogan has received degrees in physics and Hebrew literature. She has published in Physics Today and presently resides in Israel where she has worked ...
10. "Worlds in Collision" and the Prince of Denmark: II. Hamlet and Meso-American Myth [SIS C&C Review $]
... From: SIS Review Vol III No 3 (Winter 1978/79) Home¦ Issue Contents "Worlds in Collision" and the Prince of Denmark: II. Hamlet and Meso-American Myth Irving Wolfe Dr Wolfe is Professeur Agrégé in the Department d'Études Anglaises, Université de Montréal (Québec), and a Senior Editor of KRONOS. This article is adapted from a chapter of Dr Wolfe's forthcoming book, Shakespeare and Velikovsky: Collective Memory and the Springs of Art. Extracts from this chapter, including the material summarised in this selection, have apppeared in KRONOS III.4, pp. 3-18 and IV.1, pp. 67-89 (1978). Part I of this contribution, a general introduction entitled "Velikovsky and Narrative Art", appeared in SISR II:4 (Spring1978), pp.104-8. In an earlier contribution, Dr Wolfe proposed that the world's most enduring narratives rest on ancient memories of momentous shared experiences. Here he suggests that this common denominator can be seen in startling parallels between unconnected traditions. HAMLET is a play which has been approached from so many ...
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