In late 19th century England, Oscar Wilde popularized aestheticism, also known as art-for-art’s-sake – the idea that art, that beauty, should not be a vehicle for morality or truth, but an end in-and-of-itself. Rothko and Jackson Pollock enthroned the idea, creating paintings that are barely graded panels of color or wild splashes. Today, pop culture is aestheticism’s true heir, from the perfect charismatic emptiness of Ocean’s Eleven to the hyper-choreographed essentially balletic movements in the best martial arts movies. But aestheticism has a dark core, one that Social Justice Activists are now gathering to combat, revealing the damaging ideology reflected in or concealed by our most beloved pop culture icons. Taking Bryan Fuller’s television version of Hannibal “The Cannibal” Lecter as its main text – and taking Žižek-style illustrative detours into Malcolm in the Middle, Dark Knight Rises, Harry Potter, Interview with a Vampire, Dexter and more – this book marshals Walter Pater, Camille Paglia, Nietzsche, the Marquis de Sade, Kant and Plato, as well as Dante, Shakespeare, Milton, Blake, Baudelaire, Beckett, Wallace Stevens and David Mamet to argue that Fuller’s show is a deceptively brilliant advance of aestheticism, both in form and content – one that investigates how deeply art-for-art’s-sake, and those of us who consciously or unconsciously worship at its teat, are necessarily entwined with evil.
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This is a series of introductory books about different types of writing. One strand of the series focuses on genres such asScience Fiction, Horror, Romance, and Crime, and the other focuses on movements or styles often associated with historicaland cultural locations—Postcolonial, Native American, Scottish, Irish, American Gothic.Authors covered in this volume includeWilliam Peter Blatty, Ira Levine, BramStoker, Shirley Jackson, Angela Carter,Mary Shelley, Stephen King, Anne Rice,and Washington Irving.
Modern screen acting in English is dominated by two key figures: Method acting guru Lee Strasberg—who taught the “the art of experiencing” over “the art of representing”—and English theater titan Laurence Olivier, who once said of the Method’s immersive approach, “try acting, it’s so much easier.” This book explores in detail the work of such method actors as Al Pacino, Ellen Burstyn, Jack Nicholson and Jane Fonda, and charts the shift away from the more internally focused Strasberg-based acting of the 1970s, and towards the more “external” way of working, exemplified by the career of Meryl Streep in the 1980s.
"The book considers the influence of a Chinese ethnic background or lack thereof in the writing of several twentieth and twenty-first century Sino-Peruvian authors"--
Crossing the Event Horizon provides evidence that we are, both individually and collectively, hurtling toward an evolutionary event horizon. Using the tools of Jungian psychology, the nature of the singularity is defined by its myriad manifestations emerging from the collective unconscious. These include dreams, motifs and themes found in art, science fiction and fantasy literature and films, religious cults, and the paranormal, especially near-death experiences and UFO encounters. Key aspects of the Singularity Archetype include: "Logos Beheld" (visually comprehended linguistic intent often associated with a collective telepathic network), Homo gestalt (a new species where individuality is conserved but also telepathically networked), and a parallelism between the individual event horizon of death and eschaton (the collective event horizon of the species). Apocalypticism is analyzed as an example of the Singularity Archetype pathologizing. A study of the Heaven's Gate saucer/suicide cult illustrates what can happen when people become possessed by the Singularity Archetype and are driven by it into delusory projections. The Singularity Archetype is viewed apocalyptically by the ego, and as a transcendent evolutionary event by the Self, and the duality of these views is explored in many examples. The evolutionary origins of the ego and its metamorphosis as it approaches the event horizon are explored. Evolutionary theory, which relates to the Singularity Archetype through a number of dynamic paradoxes, is discussed. Many popular books and movies are analyzed as permutations of the Singularity Archetype, including: Avatar, Childhood's End, Village of the Damned, Powder, and 2001: A Space Odyssey.The Singularity Archetype is a primordial image of human evolutionary metamorphosis which emerges from the collective unconscious. How the Archetype Manifests (a Composite Picture)A rupture-of-plane event occurs, usually threatening the survival of the individual and/or species.The event is a shock that disrupts the equilibrium of body/physical world and also individual/collective psyche. It is an ontological shock that will be viewed as the worst thing possible by individual/ collective ego. There is another rupture of plane that may actually be the same rupture as above but seen from a cosmic rather than a personal view. The shock is revealed to be a transcendent evolutionary event. The revelation of the transcendent aspect will often involve spiral motifs and unusual lights. Consciousness and communication metamorphose and with them core aspects---ego, individuality, connection to linear time, corporeality, gender identification, social order, etc.---fundamentally transform. There is a vision or actualization of release from some or all limits of corporeal incarnation and the emergence of "glorified bodies," which have enhanced powers and various degrees of etherialization. More visual and telepathic modes of consciousness and communication emerge, and this is part of a transformation of individuality into "Homo gestalt"---a new species where individual psyches are networked telepathically. The Singularity Archetype may be experienced and even actualized to various degrees by an individual through transcendent and/or anomalous experiences such as near-death experiences (NDEs), UFO/abduction/close encounter experiences, kundalini and psychotropic episodes.As with encounters with all archetypes, individuals and groups attach idiosyncratic material to it, such as particular end dates and scenarios. Another way of defining the Singularity Archetype (in its collective form) is as a resonance, flowing backward through time, of an approaching Singularity at the end of human history. The Singularity Archetype relates to both the evolutionary event horizon of the species and, for the individual, the event horizon of death.