Flashes of lightning, resounding thunder, gloomy fog, outstanding sunshine…these are the lifestyles manifestations of the skies. The concrete visceral stories that residing less 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 proficient via the gloomy vapors, the glimmers of fleeting mild, and the dignity of the skies. Reconnoitering from the soil of human lifestyles and striving in the direction of the limitless, the elan of mind's eye will get stuck up within the clouds of the skies. There in that dimness, sensory receptivity, inclinations, 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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Additional resources for Art, Literature, and Passions of the Skies (Analecta Husserliana, Volume 112)
234. , pp. 235–236. , pp. 236–237. , p. 244. 36 Munro, Alice, “Axis” (The New Yorker, Jan. 31, 2011), pp. 63–69. , p. 153. In Royce’s case, quantum tunneling would not be entirely random, but it would probably be unconscious or even instinctive. 38 As physicist Robert P. Kirshner points out, the fact that dark energy and dark matter comprise 70% and 25% of the universe, respectively, was only discovered a decade ago. So-called ordinary matter, such as people, stars, galaxies, planets, and atoms, make up a mere 5%.
But what about a cosmic axis, an axis mundi? The end of Munro’s story compels readers to reflect on more elemental, less visible factors, not identical but more comparable to the astrophysical dark energy and dark matter. Avie, mother that she is, homes in on the “spot of live regret” that either her voice or the author’s locates right under Royce’s ribs. His regret, identified with a pithy narrative certitude, is alive, and almost near the surface—the heart beating just under the ribs—but Royce cannot address let alone assuage it.
The end of Munro’s story compels readers to reflect on more elemental, less visible factors, not identical but more comparable to the astrophysical dark energy and dark matter. Avie, mother that she is, homes in on the “spot of live regret” that either her voice or the author’s locates right under Royce’s ribs. His regret, identified with a pithy narrative certitude, is alive, and almost near the surface—the heart beating just under the ribs—but Royce cannot address let alone assuage it. He considers it prying—like a woman, no less.