The life of the spirit may be fairly
represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost. The lower the segment the greater it is in breadth, depth, and area.The whole triangle is moving slowly, almost invisibly forwards and upwards. Where the apex was today the second segment is tomorrow; what today can be understood only by the apex and to the rest of the triangle is an incomprehensible gibberish, forms tomorrow the true thought and feeling of the second segment. At the apex of the top segment stands often one man, and only one. His joyful vision cloaks a vast sorrow. Even those who are nearest to him in sympathy do not understand him. Angrily they abuse him as charlatan or madman. So in his lifetime stood Beethoven, solitary and insulted. Wassily Kandinsky (1866 –1944)


Showing posts with label Mircea Eliade. Show all posts
Showing posts with label Mircea Eliade. Show all posts

Saturday, January 7, 2012

Mircea Eliade (1907– 1986)


Man becomes aware of the sacred because it manifests itself, shows itself, as something wholly different from the profane. To designate the act of manifestation of the sacred, we have proposed the term hierophany. It is a fitting term, because it does not imply anything further; it expresses no more than is implicit in its etymological content, i.e., that something sacred shows itself to us. It could be said that the history of religions — from the most primitive to the most highly developed — is constituted by a great number of hierophanies, by manifestations of sacred realities. From the most elementary hierophany — e.g. manifestation of the sacred in some ordinary object, a stone or a tree — to the supreme hierophany (which, for a Christian, is the incarnation of God in Jesus Christ) there is no solution of continuity. In each case we are confronted by the same mysterious act — the manifestation of something of a wholly different order, a reality that does not belong to our world, in objects that are an integral part of our natural "profane" world.
Excerpt from "The sacred and the profane"

Wednesday, January 4, 2012

Film: Youth without Youth (Francis Ford Coppola)


Dominic Matei

The war rages around me. I am a fugitive in neutral Switzerland, encircled by the axis powers. My Romanian homeland has made a pact with the devil, Adolf Hitler, and may soon be under siege. I’ve lost contact with my dear friend, Professor Stanciulescu, which could mean that he’s been killed. I live in fear, dreading what awaits in the alleyways. Eluding capture by my wits, moving from hotel to rooming house, always working in my book.

November the 30th, 1941. Zurich. Dominic Matei:



                     I have explained in portfolio B how I instinctly found the talent to preserve myself. Living like a secret agent, I discovered the abilities to forge documents, change addresses and prepare disguises. Shortly after he disappeared, Professor Stanciulescu arranged a bank account for me in Geneva under the name of William Pedersen. Now, without him, these funds will be depleted. And I will have to find other means.


February the 20th, 1942. Bern: 


                       I must face the undeniable and chilling truth, that I am a mutant, like a character of a science-fiction novel, I am strange superman of the future. I have access to knowledge unavailable to mankind. Powers I don’t fully understand. Despite this, I try to behave as an ordinary intellectual, working to complete my book, documenting the origin of language and human consciousness. I began to realize that with any text I had before me, If I wanted to know the content, I simply… knew it.


Lake Campione, October the 23rd, 1942:


                          If someone were to tell me that there exist among us authentic magicians, saints, Bodhisattvas , or anyone endowed with miraculous powers, I would believe them. The Double: In a certain sense what you say is true. But you’ve attained the freedom to accept or reject these new conditions to use them to finish your life’s work, or not. Have you decided? To use them for good or for evil.
Based on the novella by Mircea Eliade