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Essay / Research Paper Abstract
This 4 page paper discusses Phil Cousineu’s book “Once and Future Myths” and how it uses examples of actors and entertainers to explain some of today’s modern myths. Bibliography lists 3 sources.
Page Count:
4 pages (~225 words per page)
File: D0_HVCosneu.rtf
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Unformatted sample text from the term paper:
events the person experienced. In order to do this, they take part in the creation of a myth. This paper discusses Phil Cousineaus book Once and Future Myths and relates
his essays to the ways some actors / singers work to create a different reality. Discussion Cousineau shares with Joseph Campbell an understanding of the power of stories and legends;
Campbells book Joseph Campbell and the Power of Myth is a classic work that explores the way people use myth to explain the things in their lives they cannot understand,
or to seek something beyond their current reality. Cousineau is an explorer in the same territory as Campbell, adding his own observations to what has gone before. Campbell mentored Cousineau,
and obviously passed down his knowledge of the importance of myths to everyday life (Bridgeman, 2002). In his book, Cousineau talks about "stalking the sacred presence on Earth," and in
sharing "some of his own peak experiences and his search for the core of their meaning as he understands them so far" (Bridgeman, 2002). Cousineau weaves the old and new
in a series of essays about "myth and meaning of life" (Bridgeman, 2002). Each of the essays examines an "ancient or sacred place -- a citadel in Corinth, the valley
of the Kings, the killing fields of Troy, Easter Island, Paris, the fields of Olympus and Detroits field of dreams" (Bridgeman, 2002). And in each of these extraordinary places, Cousineau
discusses some of the ancient myths tied to the place, his own experiences of it, and the celebrities that might also be related to it (Bridgeman, 2002). For instance, the
myth of Sisyphus (condemned to roll a rock uphill forever) is analogous to the struggles of Frank Sinatra to "find his creative voice" (Bridgeman, 2002). Because he was mentored himself,
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