Art, Literature, and Passions of the Skies (Analecta

Flashes of lightning, resounding thunder, gloomy fog, awesome sunshine…these are the existence manifestations of the skies. The concrete visceral stories that residing lower than these skies stir inside us are the floor for person impulses, feelings, sentiments that during their interplay generate their very own ever-changing clouds. whereas our mind concentrates at the discovery of our cosmic place, at the structure of the universe, our mind's eye is expert via the gloomy vapors, the glimmers of fleeting mild, and the honor of the skies. Reconnoitering from the soil of human lifestyles and striving in the direction of the countless, the elan of mind's eye will get stuck up within the clouds of the skies. There in that dimness, sensory receptivity, tendencies, feelings, passionate strivings, yearnings, elevations assemble and propagate. From the “Passions of the Skies” spring innermost intuitions that nourish literature and the arts.​

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Extra resources for Art, Literature, and Passions of the Skies (Analecta Husserliana, Volume 112)

Sample text

Moreover, even the house has its vagina dentata,1 the jaw-like menacing gates that can be closed from within, or – once Heathcliff is dead—left harmlessly open to welcome visitors. When Mr Lockwood first arrives, as the new tenant of Thrushcross Grange he visits Wuthering Heights to meet his landlord Heathcliff for the first time, who reluctantly asks him to “walk in”: The “walk in” was uttered with closed teeth, and expressed the sentiment, “Go to the Deuce” even the gate over which he leant manifested no sympathizing movement to the words […] When he saw my horse’s breast fairly pushing the barrier, he did pull out his hand to unchain it …(1).

Happold 1970: 17) Symbols also suggest meaning beyond surface perception and take the mind farther than the level of ratiocination. In Wuthering Heights, windows have far-reaching symbolic implications throughout the novel—mostly associated with freedom and release from imprisonment. Like a Turner painting, they effortlessly but inevitably lead the mind to the contemplation of an infinite horizon. For the elder Catherine, windows offer the only access to physical and spiritual freedom; they offer a threshold to the social transgression available in the solitude of nature, but above all to the transcendence she craves in body and soul: the promise of peace and permanent joy.

Heathcliff in fact is nature, for he is “heath”, the moors, and “cliff”, the peak represented most vividly in the text by the projecting phallic symbol of Penistone Crag, which dominates the whole landscape of the action. Its significance is demonstrated, for example, in the second half of the novel, when the young Cathy Linton (Catherine Earnshaw’s daughter) is prevented from ever travelling as far as the Crag. The cliff becomes a symbol for her of desirable adult attainment of forbidden experience, associated with the forbidden knowledge of her family’s recent history as well as the terrors of adult female participation in patriarchal dominance.

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