THE ARCHETYPAL ARCHIVE

 In this essay (and any follow-ups) I want to develop the line of thought in QUICK NUM NOTES .  As I said in NOTES, I'm not disavowing t...

Continuing the conceptual thread from the previous essay, I reiterate that whenever I analyzed the phenomenality of a work that falls within...

 My posts on the NUM theory have gone into great detail as to how literary metaphenomena, whether uncanny or marvelous, are created through ...

 I ended the previous essay in the series on this observation: From one viewpoint, if the prehistoric myth-maker was trying to counter the u...

The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other a...

"Primary familiarity," as I've defined it in Part 1 , is essentially the same as Aesopian contempt, the passive tendency to ta...

  A very young Fox, who had never before seen a Lion, happened to meet one in the forest. A single look was enough to send the Fox off at to...

Back in March 2014 I was deeply involved in sussing out metaphors for my conception of intelligibility. In the essay RIDDLE, MYSTERY, ENIGMA...

I foregrounded this essay in the first paragraph of BOUNDED WITHIN INFINITE SPACE: My plans for the third and last part of UNCANNY GENESI...

Mythical "metamorphosis"... is always the record of an individual event-- a change from one individual and concrete material form...

While messing around in Merriam-Webster's online thesaurus in search of a title for this essay, I was surprised that a search for synon...

I concluded Part 3 of ARCHETYPE AND ARTIFICE   with this statement: it stands to reason that artifice as a mode embraces both simple vari...

In my most recent film-review I wrote: From time to time I've debated, like many others on the web, the question as to whether or no...

C.S. Lewis's analysis from AN EXPERIMENT IN CRITICISM remains my touchstone for the distinction between fear and dread: Suppose you w...