Word: arcadian
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Into this "wasteland" climate of despair, a countermyth of hope, has been introduced. It may be identified as the myth of the New Arcadia. The New Arcadians see their salvation in a return to Eden innocence. Arcadian man will not reprogram the world; externalized change is the Promethean trap. Arcadian man will change his own head. He will retap the sources within his archetypal self. A million individual religious experiences will take place, and these will change the world...
...America, Charles Reich tried (and failed) to define this spiritual revolution: a mysticism of self-renewal that would save modern man from himself. In Where the Wasteland Ends, Theodore Roszak fails too, perhaps inevitably. But in the meantime he has brilliantly summed up once and for all the New Arcadian criticism of what he calls "postindustrial society." His book expresses almost as an act of autobiography the needs and demands he first began to detail in The Making of a Counter-Culture...
...create a sane life?" "How do I save my soul?" These, Roszak thinks, are the pertinent questions for Arcadian man, cornered by urban-industrial necessities and manipulated by "a vast mandarin establishment of hysterical professional obfuscators...
...chief drawback attaching itself to Hawkes's first-person narrative technique rests with none other than his narrator, Cyril, who (as one gathers early on) is the archetypal "multisexualist." Through Cyril's eyes--his center of consciousness--the reader surveys obliquely a "tapestry of love." The Arcadian setting is as timeless as it is detached from the quotidian world of mortals--or so Cyril believes: "In Illyria there are no seasons...
Classical Landscape, with Figures and Ruins: the title is on dozens of paintings. The image that pervaded European landscape painting for centuries was nearly always of an idealized Rome with its wrecked marble and Arcadian countryside. Curiously enough, the three artists who did most to fix its shape were not Italian but French-Poussin and Claude in the 17th century, Corot in the early 19th. But other French painters, not chiefly known as landscapists, also set down their impressions of that tawny city in which history lay preserved as in amber. None worked with a more impassioned delight than...