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104 results found.
11 pages of results.
11. Nor Heaven Nor Earth Have Been at Peace: The Contemporary Foundations of Shakespeare's Cataclysmic Imagery [Kronos $]
... , The Tempest, in its title continues to suggest the dramatist's consistent preoccupation with the catastrophic forces of nature. Such images of natural disturbance, moreover, have been duly noted by various critics, and attempted explanations almost casually proffered. Cumberland Clark, for instance, sees Shakespeare's use of the imagery of natural destruction simply as a poetic-dramatic device, since "natural phenomena are common knowledge and enter into the experience of every man, woman, and child, soothing, delighting, disturbing, terrifying..."(1) Shakespeare is, in short, "aware of the value of imitative uses of natural phenomena to intensify the most dramatic moments of his plot. He can so handle the elements as to harmonize them with the mental processes of his characters and strengthen the impression he desires to convey".(2) Caroline Spurgeon explains Shakespeare's preoccupation with such water and river catastrophes as floods by reference to his early life spent near rivers.(3) More specifically, Henry Paul attributes the storm imagery in Macbeth and Lear to the hurricane of ...
... this list we must add Velikovsky's Venus, for she is also given the qualities of a fiercely disruptive celestial body. For instance, Davidson describes her as active and hot-- so hot that the seeming Cupids on her barge with their fans only make her "delicate cheeks" glow with their sensual warmth.31 She is portrayed as a disturber of natural order. She stands for excess, since she will not pause at the limits set by nature.32 Her object is to disrupt a pre-existing scheme. Thus she usurps the phallic role, Shakespeare suggests; of course, such usurpation is an attempt to achieve a reversal of the natural order, which was, after all, the object of the serpent in Eden.33 Because she is associated with serpents, notes Davidson, Cleopatra's Egypt is hideously fertile, full of snakes, and poisonous. She lives in a world which is reminiscent of Spenser's Bower of Bliss and which is fully as poisonous, especially to male visitors from Rome.34 The poison affects Antony, who admits to Caesar that he had "neglected" his duty " ...
13. Bacon Bits [Science Frontiers Website]
... Science Frontiers ONLINE No. 136: JUL-AUG 2001 Issue Contents Other pages Home Page Science Frontiers Online All Issues This Issue Sourcebook Project Sourcebook Subjects Bacon Bits Roger Bacon may have been involved with the Voynich Manuscript described in SF#135, but it was Francis Bacon who, some claim, wrote some of the plays commonly attributed to Shakespeare. We apologize for this slip-up and thank all who pointed it out. As for the possibility of a cipher in Shakespeare's plays, this idea was promoted by that trouble-maker I. Donnelly. His book, The Great Cryptogram (1875). was proof, Donnelly asserted, that it was really Francis Bacon who penned what is now erroneously attributed to Shakespeare. Donnelly was a great collector of anomalies. From his vast researches came Atlantis: the Antediluvian World, a book that sparked worldwide interest in that lost city, and the equally seminal Ragnarok: the Age of Fire and Gravel, that introduced Velikovskian catastrophism 67 years before Worlds in Collision. From Science Frontiers #136, JUL-AUG 2001.© 2001 William R. ...
14. Contributors [Kronos $]
... Mr. Ellenberger has received degrees in chemical engineering and finance& operations research. His writing has appeared in such diverse periodicals as New Leader, Science Digest, I-R/D, Fate, Zetetic Scholar, Biblical Archaeology Review, Astronomy, and SIS Review. Mr. Ellenberger is a Contributing Editor of KRONOS, and on the staff of the American Chemical Society. 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. Edward L. Odenwald, III (M.A., New York Univ.); Mr. Odenwald teaches English literature at Glen Rock High School in Glen Rock, New Jersey. He has done post-graduate work with Prof. Richard J. Jaarsma. Lynn E ...
15. Contributors [Kronos $]
... story is told in the ASH correspondence in Penseé VI. In 1967 her book Ein Altorientalisches Symbol was published by Otto Harrassowitz Verlag in Wiesbaden. In 1977 she was among the contributors to the report of the excavations at Isin, published in the Abhandlungen of the Bayerische Akademie der Wissenschaften, Phil-hist. Kl., Heft 79 (1977), pp. 135-145. 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. Ralph E. Juergens (B.S., Case-Western Reserve); The late Ralph Juergens was a civil engineer and a Senior Editor of KRONOS. He had also been an associate editor of the journal Penseé to which he contributed many scholarly articles, and co editor ...
16. Focus [SIS C&C Review $]
... , Dept. of Physics, Lethbridge, Alberta, Canada. We note from Kronos II:1 that the texts of the May 1974 symposium, Velikovsky and Cultural Amnesia, are being prepared for publication: we will keep members informed as we learn more. As listed in Pensée X, the papers presented were Gowans: Social Function in Historic Arts as a Basis for Periodisation in Ancient History; Grinnell: Catastrophism and Uniformity (printed in Kronos I:4 as "The Origins of Modern Geological Theory"); Wolfe: Shakespeare and Velikovsky: Catastrophic Theory and the Springs of Art (expanded and printed in Kronos I:3 and I:4); MacGregor: Catastrophic Themes and Psychotic Delusions; Mueller: Chronological Implications of Velikovsky; Doran: Velikovsky and the New Anthropology; Mullen: Structuring the Apocalypse: Old and New World Variations; and de Grazia: Palaetiology of Human Fears- a mixed bag well worth acquiring. PENSÉE (Address: see RCN) The ten-issue series Immanuel Velikovsky Reconsidered( 1972-1974) will not be resumed. Although many ...
17. Morgan le Fay, Maid Marian and May Day [SIS C&C Workshop $]
... been identified with Manannan, son of Lyr, the sea god of the Celts who gave his name to the Isle of Man (while Morgan survives in the county of Glamorgan). John Matthews [3, in a brilliant study of the Robin Hood legend, takes it a stage further and suggests Maid Marian, the consort (goddess) of Robin Hood (the green man or hooded god of the otherworld or wild wood) (and see wood and Woden and fury [4) has a connection with merry as in Shakespeare ''s Merry Wives of Windsor- not as in joyously 'merry' or drunkenly 'merry' but as in supernaturally merry, which we might associate with names of deity such as Mary, Maire, Maria, and Marian etc. a goddess figure with an extremely bloodthirsty nature with analogies to Hindu Kali and Canaanite Anath. They are also associated with the sea, ie in English mere is a lake or pond and in Latin mare is the sea. The Shakespearean term 'merry' may have an association with morris dancing and with Robin ...
... they are dead, their names and memories can be safely elevated to myth, just as Dr. Velikovsky tells us that the actual planets Mars and Venus, once so prominent in the skies and so threatening, are now safely distant, in fixed orbits, presenting no living danger to the Earth, and so they too can be safely venerated. If one has read Velikovsky, the general action in Antony and Cleopatra is clearly catastrophic, and it is on this basis that I wish to analyze the corresponding celestial catastrophic imagery which Shakespeare has used to characterize the lovers at every important stage of their story's development. Once they are in love, Antony's proximity or distance directly affects Cleopatra's brilliance, 1.1.9-10. Their attraction takes them beyond all established bounds, to find out new heaven, new earth, 1.1.17. When Antony renounces Rome for Egypt, his words are made to unknowingly prefigure the worldwide destruction this will cause. Let Rome in Tiber melt, and the wide arch Of the ranged empire fall! 1.1.33-34. To him, Kingdoms are clay, 1.1.35 ...
19. 'Worlds in Collision' and the Prince of Denmark [SIS C&C Review $]
... ' and the Prince of Denmark Irving Wolfe Dr Wolfe is Professeur Egégé in the Département d'Études Aglaises, Université de Montréal, and a Senior Editor of KRONOS. What are the enduring factors in the attraction of a great work of art? Approaching the field of literature from the context of past catastrophes, Dr Wolfe proposes startling depths to the world's great narratives. I: Velikovsky and Narrative Art The history of man as drawn by Velikovsky may be interesting and even inspiring; but what relation is there between it and literature, and Shakespeare in particular? The answer, I feel, lies in the intimate connection between what we are and what we do, which is anteriorly connected to what has happened to us. Such a point of view is unexceptional when applied to the individual, but I am referring to a different dimension, one that is communal, age-old and unconscious. We are collectively what all of our ancestors have experienced, and we do collectively what we are; our past, our racial collective past, determines a large proportion of our present ...
20. "Heaven and Earth": Catastrophism in Hamlet [Kronos $]
... , but specific illustrations of the parallels between the stories of Oedipus, Hamlet, and Saturn-Kronos, and their reflection in myth and religion, will be presented later. For the moment, we need only keep Cardona's warning in mind that mankind has experienced several planetary catastrophes over thousands of years, each of which may be recorded in myth and art.The importance for Fergusson of establishing structural similarities between Hamlet and Oedipus Rex is that it permits him to draw important connections between the creators of these plays. To him, even though Shakespeare and Sophocles lived many miles and many centuries apart, they both seem to have drawn from the same well. If there is an art of drama in its own right, not derived from the more highly developed arts and philosophies, but based upon a uniquely direct sense of life, then Oedipus Rex and Hamlet are crucial instances of it. (33a) They are primordial responses to primordial frameworks of belief. Hamlet, like Oedipus and the Purgatorio, can take myth and ritual as still alive. Its imitation of human ...
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