When it comes to coaching models, it is certainly not the case that one size fits all. So far, the one that I like most is called Narrative Coaching. It’s described as a ‘mindful, experiential and holistic approach’ to shift my client’s stories thereby generating new options for desired change. The idea is that stories are not only central to life but they are … Read More Narrative Coaching
Electional astrology is ‘the art of the possible’ – i.e. choosing the perfect moment to launch a particular project or event so as to give it the best chance of success. The idea is that the chart of the launch moment should symbolically reflect the nature and goals of the project as well as those of the person(s) responsible for it. The following chart has been elected by … Read More Magazine launch – for Ms T
In the preface to his Ukrainian Edition of Animal Farm, George Orwell says that his reason for writing the novel was to reveal what he believed to be the Soviet myth underlying Socialism – the political and economic model that he wholeheartedly embraced. According to Orwell, nothing had caused greater harm to the Socialist movement in England than that the majority of English people … Read More Power and Promise – Utopian Propaganda & Orwell’s Animal Farm
With the Sun in Aries and the Moon in Scorpio, the energy of today and tomorrow is one of bored dissatisfaction. Little wonder you’re feeling disillusioned, uncertain.
But what are you going to do about it – that’s what you really need to know.
There are several important ways in which both Freudian and Jungian psychoanalysis can serve as a model for literary analysis as for example looking for the subversive in women’s literature – i.e. that which is not explicitly stated (for any number of good reasons) but nonetheless is still present. Most certainly if Austen felt so constrained to so as not to publish her novels … Read More Psychoanalysis and Critical Literary Theory
The ‘Argument’ and ‘Prologue’ in Jonson’s Renaissance comedy, Volpone, likewise works similarly to the Greek chorus – the ‘Argument’ preparing the audience for key moments to come by summarising the plot and, as did the ghostly chorus in Kyd, implying that justice will be done when at the end ‘all are sold’. The Prologue adds to this by suggesting that ‘our play’ will be a ‘hit’ as the result of the dramatists’ salty ink – with which he intends to ‘rub your cheeks’ till ‘red with laughter’. This is a clear signal that the play is not tragedy but comedy and satire.
Understanding the institution of marriage in this way, it becomes readily apparent that the romantic love that we in the 21st century so favour in relationships was not a key factor in the Renaissance equation.
Further, if we accept that a text is an ‘aesthetic object’ (however TS Eliot and others might have us define that) then if we are to take anything valuable away from our ‘aesthetic experience’ , we need to focus on what it tells us about ourselves.
For Nietzsche, transformation was not simply a matter suspending audience disbelief, but instead allowing the audience to actually enter the world of the Greek god Dionysus, in whose realm lies all primordial truths and with it, the tragic suffering inherent in comprehending these truths.