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...events that private myth, the personal subtext of events, had replaced. Down the wet streets of Cambridge Bell walked, but he walked, careless of time and of history, down down into the fading gray all-nite movie theatre pool hall used car lot out front of Dreamland, a Jungian slide show punctuated by snatched conversations and bits of song, run by the Prince Emmanuel himself, down in the Prince Emmanuel's land. Dreamland...

Author: NO WRITER ATTRIBUTED | Title: Prince Emmanuel's Land | 1/7/1980 | See Source »

...Brooks' Young Frankenstein. As this collection of twelve essays suggests, though, Mary Shelley's novel is a surprisingly open-ended source of disturbing, even terrifying implications. Its awkwardness and philo sophical uncertainties mark Frankenstein as the first and most powerful modern myth, not a pure Jungian river flowing through the collective unconscious but a polluted industrial spillway...

Author: /time Magazine | Title: Books: The Man-Made Monster | 7/23/1979 | See Source »

...Time (1941), through such an instrumental-cwra-vocal work as his Symphony No. 3 (1972), he has charted the precarious survival of humanistic values in a violent, technological age. This concern has been central to his operas. The Midsummer Marriage (1952) plumbed myth and folklore in search of Jungian archetypes of spiritual wholeness...

Author: /time Magazine | Title: Music: Healing Spring | 6/4/1979 | See Source »

People have read everything from Marxist philosophy to Jungian depth psychology into Richard Wagner's operatic cycle Der Ring Des Nibelungen. Not least among the difficulties of untangling its 16 hours of music and text are the contradictions which Wagner, bursting with knowledge in many fields and expert in none, wrote into his own libretto. Yet Wagner always insisted that his "poetry" was the important thing and that his music existed only to serve...

Author: By Scott A. Rosenberg, | Title: Vaguely Wagner | 1/11/1979 | See Source »

Replacing it is "Figure" an example from Pollock's "myth and totem" period which preceded his "drip" style and coincided with his experiences in Jungian analysis. This work which incorporates primitivesque figures and symbols reminds us that Pollock did not spend his entire artistic career dripping paint on canvas on his way to fame, fortune and artistic fulfillment. But even if "Figure" provides a good academic lesson, any show of abstract expressionist work is incomplete, as this one proves, without a mature Pollock to epitomize the nature and aims of the period--an expression of the unconscious through the emotional...

Author: By Karyn E. Esielonis, | Title: Unveiling Unconsciousness | 10/12/1978 | See Source »

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