I interpret literature, or reflect on philosophical ideas, in an exploratory manner. The focus here is on developing insights, and some of it is speculative. Occasionally, I consolidate it into longer essays.
1. Suppose a subject becomes enamoured with another person. In that situation, we can assume in the subject’s mind a cluster of ideas, perceptions, presumptions, etc., all of which have the other person (the “love object”) as their content in some way. For example, there may be memories (“When we first met, she looked like this …”), general ascriptions of personality (“He’s a very attentive...
As every lover of Eurospy knows very well: death is a woman. If you fall in love with her and have the good luck to find it requited, she may sacrifice herself in a kind of Liebestod, Which makes you — immortal! (Logically…)
Let’s say we understand the collective unconscious as a set of patterns, called archetypes, of psychological processes. A subject’s psychology may, in a given situation, start to conform to such a pattern. What is such a 'triggering' like?
If archetypes are patterns, the obvious question is: patterns of what?
Several of my difficulties in understanding the supposed “psychological relativity” of time and space had to do with the weird nature of the collective unconsciousness, as Jung conceives of it. Let’s catch up with some of that.
In the synchronicities essay Jung refers us to his earlier article on "Der Geist der Psychologie." He states that there he has “presented synchronicity as a psychically conditioned relativity of space and time”. What does that even mean?
Returning from his year-long stay on a Greek island, the protagonist of The Magus makes an intermediate stop in Rome. But he compares his impressions unfavorably with those he had in that other Mediterranean world: The sun shone as certainly, the people were far more elegant, the architecture and the art much richer, but it was as if the Italians, like their Roman ancestors, wore a great mask of...
The architecture of Durrell’s "Alexandria" tetralogy is constructed in analogy to the idea of four-dimensional spacetime in the theory of relativity. Durrell calls this “the relativity proposition”. How does this work in terms of plot layout?
What is the difference between mysticism and empiricism?
[Note: This post has been superseded by an updated and more integrated article.] There is a rather special use of mirror imagery in Justine, when Durrell’s narrator reflects on his last conversation with the writer Pursewarden (which had taken place immediately before the latter committed suicide). The fact that this was our last meeting has invested it, in retrospect, with a significance which...
Leif Frenzel is a writer and independent researcher. He has a background in philosophy, literature, music, and information technology.