By Scott Freer
Modernist Mythopoeia argues that the experimental modernist type of mythopoeia used to be directed in the direction of expressing a number of metaphysical views that fall among fabric secularism and dogmatic faith. The e-book is a well timed addition to the 'post-secular' debate in addition to to the 'return of religion' in modernist reviews.
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Extra info for Modernist Mythopoeia: The Twilight of the Gods
44 How can eternal becoming be expressed via static metaphors – when what are overfamiliar expressions of the self can no longer offer fresh or creative insight? Heidegger calls for a physical imagery that can evoke the indeterminate passage of becoming into this world: clouds drifting across a moonscape, for instance. 45 This is why tragic art is Nietzsche’s starting point on modernist aesthetics. When bemoaning the translation of mythos into logos, from Greek tragedy to doctrinal religion, Nietzsche is lamenting the loss of a poetic conceptualization of human nature that existed in the genesis of creative articulation.
He became poor, in other words human and vulnerable, and his descent from heaven to earth allowed for people’s salvation and spiritual richness (which does not have to be seen only in terms of afterlife, but a quality of life in this world based on close relationship with God). Zarathustra says: ‘Behold! I am overburdened with my wisdom: like the bee that has gathered too much honey, I need hands outstretched to receive it. 88 The suggestion is that he has exceeded the gathering of a familiar spirituality, and calls for the dual dynamic of sharing in terms of ‘hands outstretched to receive it’.
The modernist teachings of Zarathustra It is in On The Genealogy of Morality (1887) that Nietzsche first introduced the new redeemer, Zarathustra: one who appropriates the original earthy symbolism of Christ’s parables so as to radicalize the self via estranging metaphors. 75 Nevertheless, in order to overthrow nihilism, Nietzsche revitalizes the ancient myth of the messiah saviour: But some time, in a stronger age [ . . ] he will come to us, the redeeming man of great love and contempt, the creative spirit who is pushed out of any position ‘outside’ or ‘beyond’ by his surging strength again and again, whose solitude will be misunderstood by the people as though it were flight from reality –: whereas it is just his way of being absorbed, buried and immersed in reality so that from it, when he emerges into the light again, he can return with the redemption of this reality: redeem it from [ .