This book reveals the life of R. Clay Crawford, his dreams, his schemes, his successes and his failures, as he launched himself into many of the most turbulent episodes of 19th century United States history. Like everyone, he was born with a family history, not just genetic but also cultural determinants; this book reveals the influences on his behavior inherited from his father and his grandfathers. He likewise passed on to his children a model, not just genetic but cultural. Even so, Clay Crawford's story is not just a family affair. He was a "self-made man" living in an age when such was thought to be a national asset--and thus stands out as a warning that the worship of the "self-made man" may produce more rogues than Rockefellers.
The thesis of A Gorgon's mask: The Mother in Thomas Mann's Fiction depends upon three psychoanalytic concepts: Freud's early work on the relationship between the infant and its mother and on the psychology of artistic creation, Annie Reich's analysis of the grotesque-comic sublimation, and Edmund Bergler's analysis of writer's block. Mann's crisis of sexual anxiety in late adolescence is presented as the defining moment for his entire artistic life. In the throes of that crisis he included a sketch of a female as Gorgon in a book that would not escape his mother's notice. But to defend himself from being overcome by the Gorgon-mother's stare he employed the grotesque-comic sublimation, hiding the mother figure behind fictional characters physically attractive but psychologically repellent, all the while couching his fiction in an ironic tone that evoked humor, however lacking in humor the subtext might be. In this manner he could deny to himself that the mother figure always lurked in his work, and by that denial deny that he was a victim of oral regression. For, as Edmund Bergler argues, the creative writer who acknowledges his oral dependency will inevitably succumb to writer's block. Mann's late work reveals that his defense against the Gorgon is crumbling. In Doctor Faustus Mann portrays Adrian Leverkühn as, ultimately, the victim of oral regression; but the fact that Mann was able to compete the novel, despite severe physical illness and psychological distress, demonstrates that he himself was still holding writer's block at bay. In Confessions of Felix Krull: Confidence Man, a narrative that he had abandoned forty years before, Mann was finally forced to acknowledge that he was depleted of creative vitality, but not of his capacity for irony, brilliantly couching the victorious return of the repressed in ambiguity. This study will be of interest to general readers who enjoy Mann's narrative art, to students of Mann's work, especially its psychological and mythological aspects, and to students of the psychology of artistic creativity.
On April 26, 1607, the English colonists anchored at the entrance to the Chesapeake Bay and came ashore to the historic piece of land they named Cape Henry. Then, in 1917, a military post was established and fortified to protect the southern portion of the entrance to the Chesapeake Bay during World War I; it was named Fort Story. Expanded and heavily fortified to meet the demands of the Second World War, the post served as a principal installation for the Harbor Defenses of Chesapeake Bay. The big guns fell silent after that conflict, and the post became the "Home of Army Amphibians" with over-the-beach operations. Today Fort Story continues to provide a superb training installation for the Army Transportation Corps and Special Operations.
‘You can only find out the rights and wrongs by Reasoning – never by being rude about your opponent’s psychology.’ For C. S. Lewis, reason and logic are the sensible way to approach faith and ethics. Much of the 20th century’s ills are caused by ill-founded beliefs and opinions.
The letters collected here covers a vast range of subjects -- books, nature, people, and every aspect of God and His world -- and extend from [the author's] early days as a student and atheist up to a few weeks before his death. [It includes] his correspondence with family, friends, and even fans.-Back cover.
The life and mind of C. S. Lewis have fascinated those who have read his works. This collection of his personal letters reveals a unique intellectual journey. The first of a three-volume collection, this volume contains letters from Lewis's boyhood, his army days in World War I, and his early academic life at Oxford. Here we encounter the creative, imaginative seeds that gave birth to some of his most famous works. At age sixteen, Lewis begins writing to Arthur Greeves, a boy his age in Belfast who later becomes one of his most treasured friends. Their correspondence would continue over the next fifty years. In his letters to Arthur, Lewis admits that he has abandoned the Christian faith. "I believe in no religion," he says. "There is absolutely no proof for any of them." Shortly after arriving at Oxford, Lewis is called away to war. Quickly wounded, he returns to Oxford, writing home to describe his thoughts and feelings about the horrors of war as well as the early joys of publication and academic success. In 1929 Lewis writes to Arthur of a friend ship that was to greatly influence his life and writing. "I was up till 2:30 on Monday talking to the Anglo-Saxon professor Tolkien who came back with me to College ... and sat discoursing of the gods and giants & Asgard for three hours ..." Gradually, as Lewis spends time with Tolkien and other friends, he admits in his letters to a change of view on religion. In 1930 he writes, "Whereas once I would have said, 'Shall I adopt Christianity', I now wait to see whether it will adopt me ..." The Collected Letters of C. S. Lewis, Volume I offers an inside perspective to Lewis's thinking during his formative years. Walter Hooper's insightful notes and biographical appendix of all the correspondents make this an irreplaceable reference for those curious about the life and work of one of the most creative minds of the modern era.
On October 26, 1950, C. S. Lewis wrote the first of more than a hundred letters he would send to a woman he had never met, but with whom he was to maintain a correspondence for the rest of his life. Ranging broadly in subject matter, the letters discuss topics as profound as the love of God and as frivolous as preferences in cats. Lewis himself clearly had no idea that these letters would ever see publication, but they reveal facets of his character little known even to devoted readers of his fantasy and scholarly writings—a man patiently offering encouragement and guidance to another Christian through the day-to-day joys and sorrows of ordinary life. Letters to an American Lady stands as a fascinating and moving testimony to the remarkable humanity and even more remarkable Christianity of C. S. Lewis, and is richly deserving of the position it now takes among the balance of his Christian writings.
The classic A Year with C.S. Lewis is an intimate day-to-day companion by C.S. Lewis, the most important Christian writer of the 20th century. The daily meditations have been culled from Lewis’ celebrated signature classics: Mere Christianity, The Screwtape Letters, The Great Divorce, The Problem of Pain, Miracles, and A Grief Observed, as well as from the distinguished works The Weight of Glory and The Abolition of Man. Ruminating on such themes as the nature of love, the existence of miracles, overcoming a devastating loss, and discovering a profound Christian faith, A Year with C.S. Lewis offers unflinchingly honest insight for each day of the year.
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