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The Blue/Bleu Melon

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Jouissance and Mythopoeic Movement -stephanie pope

I am removing image whereever people try to take an image from this website. For the most part, your easiest attempts to go after the image of the fool card on this page will not retrieve the image for your own use. If you wish the image by AG Muller, it belongs to the Underworld Tarot series of Baphomet Akron/ HR Giger and is for purchase here

Melon In Blue
The mythology of feminine jouissance central to the self/other world of the knower, invites in him or her today an exploration of individuating identity through sexual encounter in its own statement of body-thinking, a thinking that grounds back into a primaeval fusion of things poetic in the nature of mind.risque tarot fool

As the artist alludes to in our oddly rendered tarot card, one meaning of which is divulged below and whose image appears here, poetic language must reintroduce through its symbols what works upon it penetrates its depths and threatens its reality. (1)

These notes are part of this poet's exploration into the images that shape a certain poem, Call To A Lesser Work. Contained here are the soul-logics that ground these images in bondage within the poem's frame and the myth logics that open them out and hold them together as well as those that set them against each other and those that set them apart in coming to be together as part of the poem. I do not intend to interpret these soul-movements but merely lay them side by side. As if they work best this way.

Imaginally, the primary statements of the archetypal body re imaging itself through the lumenositas Sensus Naturae (the all-pervading world soul) re "thinks" itself forward into a future that gives shape to every potential's future within the framing order of the individual life. Of such a ground, Julia Kristeva is to write, "For every subject, an object. For every superego, an abject."  The Light of Nature cannot speak, Paracelsus conveys. And so, it must build its shapes through the sleepy power of words.

Between the passive and the active actors engaged in the performanced appearances, the unprocessed materials of our thoughts as substances within the sleepy power of words accumulate and open back into a largely unconscious collectivity soul-making images for the between nature of every set of energetics in correspondence between any two. While holding together a memory trace of its own inwardness of being in a serial-statement of seriality echoing something of  the original through the recombinant series of pulse-stases sets, the root power apprehends and formulates pulling down into life images that satisfy and integrate this boundary experience.


The blue melon imaged satisfies such an expression for me, one which the poem's symbolic statement proclaims: Voici! Here is the real melon wanted in the play that's hard to get/hard to get at!  Thus, Bleu-melon is a symbol produced by an imagination imaging in a consistent and meticulous way what now surprises the one undertaking this task of looking.

Yet, the bleu-melon satisfies a depth statement carried and is, therefore, something soul-made. This means it is an image; an appearance that expresses something invisibly specular yet seeable to mind. Every soul-making will seize materiality and threaten its expression as dead or lifeless existence; soul-making overpowers materiality, penetrates it, overcomes its boundaries and makes nothing appear. This "nothing" operates between the worlds mattering as enlivened matter and matter deadened. It's spirits fill in across time in the substances of art.

The processes of soul-making  largely change the way something gets seen. The alchemy animates appearances. Soul-made, images overcome the very language used to story them. Such a making is continuous and changing,  is of an order beyond rational understanding while also dream-like and lit by the inner eye of soul-consciousness (as in the psycho logics of the unconscious side.) Such a lumen, William of Auvergne Bishop of Paris(1228) notes, is superior to the perceptive faculties in man. This imaginal logic is creative in energetic and is produced by powers of imagination, a legitimate (sur)face reflecting the life of the mind when working in partnership with the other surfaces of reasoned life.

During my creative times I think the Living Ground of Psyche frames the poetic surface imaginally staged between ghostly performers and haunted performances. Performanced and reflecting, such radiance dances a set of psycho logics fully engaged along boundaries apprehending inwardness of being immanent as world. I am left with the sense that as such this soulfulness both is and is not; both enters matter and haunts it.

Jacques Derrida calls this between-ness of the passive and active act/actors/acting in dialog, the ance nature. Derrida suggests we can experience this deferral and the way it differs when it is speaking between any two things through time and space, for this is really that to which the two terms differ and defer refer. If such a betweeness as the time-space continuum can be likened to a dance floor, the ance-nature is the dance feminine jouissance is dancing.

In the making of its appearances, jouissance, itself, displays a vocality gathering itself loosely into rhythm, tonality and hue.
Its 'feminine' quality references psyche's inward-backward trajectory reflecting through the here and now; a reflection, not of any 'thing' nor of any 'one' but from the timeless dimension beyond all naming and forming in formations/informations allowing new in-formations to appear, be named and known or not-named and encountered in passing into and out of imagination.

Psyche's reflection can be likened as both unconventional and wise, a devilish wisdom, a rough beast and a Beauty, the most revealing yet the least seen. It speaks through a language of images in a world where imagining knowledges are often weighted as 'false' truths, yet its own statement of valuation is a weightless and desireless mystery. I tend to think the archetypal fool reflects this 'feminine' value as part of a supraconscious identity in language, albeit unconscious. It is in our language, nonetheless, as a representation of abject body, itself abjected and rendered in abject form. So here is one interpretation of the eroticized form of feminine jouissance in the fool card depicted above.

FootNote:

(1)
Jacques Derrida in his essay, "White Mythology", Published in Margins of Philosophy (207-72).

The Fool Card in its eroticzed form:

The Fool

Number: None, Zero.

Ruled by Uranus and the Element of Air.

Meaning: Nothing can harm you. Expect the unexpected.
Unconventional people could enter your life.


Reversed Meaning: Folly, madness and other such things. Look before you leap
 


Poetry:
Pater Nostre
Call To A Lesser Work

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