By Kylie Chan
John and Emma head to Wales to aim and figure out who — or what — Emma is. yet instead of offering a transparent route to their lengthy hoped-for marriage the reply might tear them aside without end. Emma could be pressured to betray both John, her loved Xuan Wu, or her previous and birthright. To make concerns worse, John’s celestial domestic at Wudangshan is below assault from the Demon King. Can John locate the Emma he is familiar with and love, and shop Wudangshan from demonic destruction?
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Additional resources for Dark Serpent (Celestial Battle, Book 1)
It was Philostratus (170–244/249 ad), one of the leading sophists or orators of his time, who, with his famous comparison between ‘phantasia’ and mimesis, stands at the threshold of our common conception of fantasy. He holds ‘phantasia’ for a wiser artist than imitation that only reproduces what it has seen (‘reproductive imagination’). For ‘phantasia’ produces also what it has not seen, and posits it as a substitution for reality (cf. 3 The productive imagination and the unconscious The effect of the ‘unconscious productive imagination’ on representation is a difficult one.
For Freud, such animal instincts are not what the drive is about. The drive is on the border of the mental and the somatical, it is a psychical representation of the stimuli that come from the body and reach out into the mental. ‘The whole flux of our mental life and everything that finds expression in our thoughts are derivations and representatives of the multifarious instincts [drives] that are innate in our physical constitution’ (Freud 1932: 221). 3 Whereas the instinct has a natural object, the drive does not.
The schemata that structure and organize our coherent understanding of things ‘are therefore nothing but a priori time-determinations in accordance with rules’ (Kant 1789/1996: A 145). Heidegger adds to this: ‘The schemata of pure concepts of understanding, the categories, are a priori time-determinations and as such they are a transcendental product of the pure power of imagination’ (Heidegger 1997: 292). Schemes are about a ‘logical’ determination of time. 9 I will try to illustrate this. Each time that I type on my keyboard (A) and see sentences appear on the screen (B) I come to connect A and B as cause and effect.
Dark Serpent (Celestial Battle, Book 1) by Kylie Chan