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Lasch claims that two basic personality types. Narcissus and Prometheus, are prototypical in Modern society. Both are variants of the lower-case narcissistic self, which is unable to accept its postnatal existence separate from nature. Narcissisus continually seeks to rejoin nature, while Prometheus tries to impose his infantile fantasies of omnipotence on it. So far so good...

Author: By John P.O Connor, | Title: Notes From Blunder ground | 12/10/1984 | See Source »

...that reached beyond politics. Darnton endeavors to demonstrate the change from the letters that a young merchant in La Rochelle wrote to the bookseller who regularly sent him the new works of Jean-Jacques Rousseau. In Darnton's view, Rousseau's preachings first established "the author as Prometheus" and his readers as emotional disciples. Darnton also finds rich social implications in folk tales like "Little Red Riding Hood...

Author: /time Magazine | Title: Books: Miaou! | 2/13/1984 | See Source »

...screening of information has always been indispensable to both war and peace, to murder and romance, to spying and spirituality. Extreme privacy plays a prominent role in the most ancient myths. Irascible Zeus, who intended to withhold the knowledge of fire from humans, was outraged when he learned that Prometheus had gone public with it. Zeus was so put off that he assembled a plethora of troubles and sent them down to mortals in the custody of Pandora. Everybody knows the calamity that resulted from the insistence on disclosure of Pandora's cargo...

Author: /time Magazine | Title: Essay: The Public Life of Secrecy | 1/17/1983 | See Source »

After the lecture Wilson said he plans to publish later this year a book culminating his pioneering work is sociobiology, entitled "Prometheus Fire...

Author: By Joanna R. Handelman, | Title: Wilson Gives Biology Lecture, Urges New Conservation Ethic | 12/9/1982 | See Source »

...ended last week in Manhattan with a masterly program of Schubert songs set to Goethe texts. Prey has lost nothing of his fabled way with the German art song, whether communicating the unearthly calm of Meeres Stille, the wild terror of the Erlkönig, the heroic defiance of Prometheus or the soft tenderness of Versunken. And certainly not the opera audiences of San Francisco, which last month heard him sing his greatest role, Mozart's Figaro, in a musically radiant (though poorly lighted and directed) new production...

Author: /time Magazine | Title: Music: No More Mr. Nice Guy | 11/22/1982 | See Source »

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