DOCSLIB.ORG

Lord Jim Mythos of a Rock Icon Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lord Jim Mythos of a Rock Icon Table of Contents Lord Jim Mythos of a Rock Icon Table of Contents Prologue: So What? pp. 4-6 1) Lord Jim: Prelude pp. 7-8 2) Some Preliminary Definitions pp. 9-10 3) Lord Jim/The Beginning of the Morrison Myth pp. 11-16 4) Morrison as Media Manipulator/Mythmaker pp. 17-21 5) The Morrison Story pp. 18-24 6) The Morrison Mythos pp. 25-26 7) The Mythic Concert pp. 27-29 8) Jim Morrison’s Oedipal Complex pp. 30-36 9) The Rock Star as World Savior pp. 37-39 10) Morrison and Elvis: Rock ‘n’ Roll Mythology pp. 40-44 11) Trickster, Clown (Bozo), and Holy Fool pp. 45-50 12) The Lords of Rock and Euhemerism pp. 51-53 13) The Function of Myth in a Desacralized World: Eliade and Campbell pp. 54- 55 14) This is the End, Beautiful Friend pp. 56-60 15) Appendix A: The Gospel According to James D. Morrison pp. 61-64 15) Appendix B: Remember When We Were in Africa?/ pp. 65-71 The L.A. Woman Phenomenon 16) Appendix C: Paper Proposal pp. 72-73 Prologue: So What? Unfortunately, though I knew this would happen, it seems to me necessary to begin with a few words on why you should take the following seriously at all. An academic paper on rock and roll mythology? Aren’t rock stars all young delinquents, little more evolved than cavemen, who damage many an ear drum as they get paid buckets of money, dying after a few years of this from drug overdoses? What could a serious scholar ever possibly find useful or interesting here? Well, to some extent the stereotype holds true, just as most if not all stereotypes have a grain of truth to them; yet it is my studied belief that usually the rock artists who make the big time are sincere, intelligent, talented, and have a social conscience. In fact, I would go so far as to say that they are some of society’s most fascinating and creative individuals, so much so that their apotheosis – during their life or after it – seems justified, or at the very least understandable. I believe that Jim Morrison is one such artist. And I am not alone. The wealth of books and articles alone on Morrison and the Doors in the last three decades – more than what has been written even about other dead rock stars – is indicative of a collective fascination (in Otto’s sense of fascinans). I hate to have to do this but here we go: Intellectually, Jim Morrison was a genius, with an IQ of 149 and apparently almost an obsession with the written word. As he was growing up, though he certainly had friends and did many of the things that kids do, he was very much a loner who would spend a great deal of time reading, writing, and thinking. He is perhaps one of the few rock superstars who earned a college degree (from the UCLA film school; Mick Jagger is another, from the London School of Business), and in addition to film, he was also somewhat of an accomplished painter and actor. Though it has been claimed he lived an overly self-indulgent, even hedonistic and nihilistic life after he became famous, the truth is that he had spent the first 22 years of his life preparing and disciplining himself to become who he became. Even during his wild rock star period, he was sober and self-disciplined enough to produce some brilliant music and poetry. And as you will see, there was method to his madness. As he wrote, playing a Clown Jesus, “Forgive me Father for I know what I do.” As far as a justification for this project from a mythological standpoint, Morrison was variously identified with Dionysus, Adonis, Alexander the Great, Shiva, Enyalios, Narcissus, Eros, kouros, Christ, a shaman, an avatar, a king, a trickster, a holy fool, etc. – not just by fans, but even by mainstream journalists (Albert Goldman called him “a surf-born Dionysus, a hippie Adonis”), not to mention some of his fellow musicians. And Morrison, at first at least, gave them every reason to make such identifications. He was a great mythographer of his own soul, singing his and the Doors personal mythology nightly on stage. As David Dalton wrote of the Doors’ original (and very understated and unoriginal) marquee heading “Doors – Band From Venice”: It might just as honestly have said: THE DOORS PERFORMING THE GOLDEN BOUGH NIGHTLY! LIVE! ON STAGE! See the Fisher King draw rain out of an industrial sky! Oedipus, Theseus and the Minotaur, Alexander the Great, the Unknown Soldier, the Ancient Snake, Endless Night, ladies and gentlemen, see them all right here. Cabellero existencialista, Jeem! Morrison himself had intended as much. In his poem, “An American Prayer, he wrote”: Let’s reinvent the gods, all the myths of the ages Celebrate symbols from deep elder forests Nietzsche had put in the mouth of Zarathustra the proclamation: “Dead are all the gods.” Morrison resurrected them all and made them live once again in his on- staging conjuring and in his words, though they were different now -- old wine in a new skin. Jim Morrison was a legend in his own time, nay even a god for some, and his deification continues posthumously. Some don’t even think he ever really died, just as disciples of divine and semi-divine religious figures like Moses, Jesus, Apollonius of Tyana, etc., refuse to believe that such great souls could ever really die and must have ascended transfigured or in some chariot of fire. The abiding images and phantoms of Morrison continue to chide us with Twain’s famous quip: “The reports of my death have been greatly exaggerated.” In a word, then, Morrison’s life and legend is an excellent example of a modern myth in the making that not only warrants careful examination, but which indeed should be studied by all those who would get at what myth is, where it comes from, and what is its ultimate value. Lord Jim:Prelude [Note: I present here the following quotes, however tongue-in-cheek they may be, because I think they will prepare you for the analysis that follows.] 1) Danny Sugerman, co-author of the first biography of Jim Morrison’s, No One Here Gets Out Alive, writes in the foreword: “I just wanted to say I think Jim Morrison was a modern-day god. Oh hell, at least a lord.” 2) Jerry Hopkins, co-author with Sugerman, later wrote: “We heard incredible stories about his catching dragon flies on the wing in his mouth and eating them, and sticking pins into the pupils of his eyes. ‘I am the Lizard King,’ he said. ‘I can do anything!’ We believed it and he came to believe it, too, for a while.” (Lizard King, 12) 3) Robby Krieger, the Doors guitarist speaking after Morrison’s death of why the rest of the band succeeded with Morrison at its helm, but not without: “[when we were together] it was like the band with the voice of God up front.” (Sundling, 17; in Oliver Stone’s movie, Krieger says it was like playing with Dionysus.) 4) Ray Manzarek, the Doors keyboardist and greatest promoter/mythmeister: “Jim was able to dive into himself and find the fauve, the wild beast, and actually become the free-spirited animal. That Dionysian wild man. He had the courage to embrace that ancient god and enter into a partnership with the bearer of the grapes, the passionate one. Jim had the courage, and very few do. And that embrace was not evil, was not harmful to others, and was certainly not the devil. It was joy!” (Manzarek, 130) 5) Someone has designed a t-shirt showing Morrison as the six-armed Shiva, who some consider the Hindu Dionysus. 6) Dalton (p. 92): “…Jim already knew what he wanted to be. It was an image he had meditated on since adolescence. Before his first photo sessions with Joel Brodsky for Vogue, Jim went to see Hollywood hair wizard Jay Sebring and told him to “make me look like Alexander the Great” (what a line) showing a page torn from a history book. Alexander, another usurper, also needed an image that would connect him with the occult power of the cosmos; and though it’s not known what he said to his hairdresser, all portrayals of him are based on images of Helios, the sun god…” 7) Yasue Kuwahara, analyzing Morrison’s “apocalyptic vision of America,” writes: “Wrapping himself in black leather suits, designing his hair after the statue of Alexander the Great and hanging a cross around his neck, Morrison looked like the reincarnation of an ancient demigod in the early days of his career…Later in his career, however, he stopped wearing the black suits, grew hair and a beard, and, using a lighting device, projected a cross on the back wall of the stage. Morrison thus began to assume the image of Christ, as the picture taken during a concert in Miami clearly shows. Holding a lamb, Morrison made clear in this picture his identification with Christ, while his black glasses indicated the sharp line Morrison drew between them. The change in his appearance also shows that Morrison had begun to see himself as a king who was to replace God in a new society.” (Rocco, 101) 8) Kuwahara again: “…Morrison raises himself to the equal of God with one phrase, “Mr. Mojo Rising” [sic], which refers to his resurrection…By singing about his own resurrection, Morrison identifies himself with Christ and thus assumes God’s power.
Load more

Recommended publications
  • Read Excerpt
    Excerpt The Seeker King A Spiritual Biography of Elvis Presley By Gary Tillery Taken from the Introduction The deluxe Dodge motor home thundered west on Route 66, chewing up the Arizona desert. Three passengers rode along in comfort inside the spacious vehicle, enjoying all the amenities the mid-sixties had to offer—including an eight-track tape deck, a stereo, and even a television. Two other men sat up front, the owner of the vehicle behind the steering wheel. Passing motorists who happened, out of idle curiosity, to crane their necks and glance at him received a jolt they would never forget. Elvis Presley had delayed leaving Memphis until the last minute. He had seized every excuse to avoid departing. Now, since he hated to fly, he and his retinue of friends and assistants were forced to drive almost nonstop across the nation to be on the West Coast in time to begin production of his latest film. Several years of trite scripts and lackluster soundtrack albums had stripped Elvis of any enthusiasm for starting a new movie. He was embarrassed by the mediocre quality of the films the Colonel kept committing him to make, and he was disenchanted with the Hollywood lifestyle. But as he headed west, that was not the worst of what was troubling him. He found himself in the depths of a spiritual crisis. Twelve hours earlier, during another turn in the driver’s seat, his mental anguish had reached a tipping point. Approaching Amarillo in the early morning, with no word to the others, he abruptly pulled off the highway into a motel parking lot.
    [Show full text]
  • The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (Guest Post)*
    “The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (guest post)* Original album cover Original label The Doors One of the most explosive debut albums in history, “The Doors” boasted an unprecedented fusion of rock with blues, jazz, and classical music. With their hypnotic blend of Ray Manzarek’s eerie organ, Robby Krieger’s flamenco-flecked guitar runs, and John Densmore’s cool jazz-driven drumming, the band were among the foremost pioneers of California psychedelia. Jim Morrison’s brooding, haunting vocals injected a new strand of literate poetry into rock music, exploring both the majestic highs and the darkest corners of the human experience. The Byrds, Bob Dylan, and other folk-rockers were already bringing more sophisticated lyrics into rock when the Doors formed in Los Angeles in the summer of 1965. Unlike those slightly earlier innovators, however, the Doors were not electrified folkies. Indeed, their backgrounds were so diverse, it’s a miracle they came together in the first place. Chicago native Manzarek, already in his late 20s, was schooled in jazz and blues. Native Angelenos Krieger and Densmore, barely in their 20s, when the band started to generate a local following, had more open ears to jazz and blues than most fledgling rock musicians. The charismatic Morrison, who’d met Manzarek when the pair were studying film at the University of California at Los Angeles, had no professional musical experience. He had a frighteningly resonant voice, however, and his voracious reading of beat literature informed the poetry he’d soon put to music.
    [Show full text]
  • George Harrison
    COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they
    [Show full text]
  • THE LORE of the DOORS: Celebrating Santa Barbara Connections As Legendary Rockers Mark Milestone
    Newspress.com http://www.newspress.com/Top/Article/printArticle.jsp?ID... THE LORE OF THE DOORS: Celebrating Santa Barbara connections as legendary rockers mark milestone KARNA HUGHES, NEWS-PRESS STAFF WRITER February 11, 2007 8:18 AM Some say The Doors' late singer Jim Morrison wrote "The Crystal Ship" when he was dropping acid on an Isla Vista beach one night, transfixed by the glittering lights of Platform Holly, an offshore oil rig. Whispered rumors, legends and contrary accounts go hand in hand with iconic rock bands, and Santa Barbarans aren't immune to the mystique of The Doors. But though recirculated stories often stretch the bounds of credibility, the Los Angeles band does have some curious connections to Santa Barbara County. When The Doors receive a lifetime achievement Grammy Award tonight, some locals can even claim they knew the boys back in the beginning. In tribute to the band's 40th anniversary, being celebrated this year, we collected local trivia related to the group. Maybe you'll find yourself a few degrees from The Doors. • Before becoming The Doors' ace guitarist, Robby Krieger (then Robert Alan Krieger) was a student at UCSB, where he studied psychology from 1964 to 1965. He taught flamenco guitar to kids and practiced his grooves in the laundry room of his dorm. "It was a total party school," Mr. Krieger recalled in "The Doors by The Doors" (Hyperion, 2006). "There was a band of hippies at UCSB. Longhairs few and far between at that point. We were doing acid and stuff, but there weren't a lot (of) us, maybe twenty people that were hip, you know." 1 of 6 02/13/2007 1:34 PM Newspress.com http://www.newspress.com/Top/Article/printArticle.jsp?ID..
    [Show full text]
  • The Truth About Elvis” Movie Website from Back in March 2007 – This Is Reproduced Here for Educational Purposes Only
    THIS IS TEXT FROM THE RESEARCH SECTION OF “THE TRUTH ABOUT ELVIS” MOVIE WEBSITE FROM BACK IN MARCH 2007 – THIS IS REPRODUCED HERE FOR EDUCATIONAL PURPOSES ONLY. PLEASE CHECK OUT THE GROUP ON FACEBOOK FOR MORE INFORMATION OR TO HELP WITH THE SEARCH FOR THE TRUTH. https://www.facebook.com/groups/48484318100/ OR MICKEY'S WEBSITE AT http://elvisconspiracy.webs.com/ Cheers & TCB! I'm going to post sightings, leads and research here. I'll post this information as I go along, so you can see some of the information I'm using to move forward. FROM ME: WE REALLY APPRECIATE THE EMAILS WE RECEIVE FROM FANS. LET US KNOW IF YOU HAVE ANY INTERESTING NEWS. THANKS, ADAM 3/14/07 Hi Adam, I finally had the chance to read "Elvis & Me by Priscilla and thought I'd share a little info with you. As I read the book, I really find it hard to believe that Priscilla would put some of the information she has in the book if Elvis was alive. There is quite a bit of their intimacy moments in the book and knowing what I've read about the two of them, it's hard to believe Priscilla even sharing this information. All I know is that I have very mixed feelings about the whole Elvis thing. Is it a money gimmick and/or just to keep Elvis and themselves in the limelight light. I do know that people are out to make a buck off of him. Some of those addresses on People Search are phony and they shouldn't be allowed to rip people off by using his middle initial and date of birth.
    [Show full text]
  • Elvis and Me, 1985, Priscilla Beaulieu Presley, Sandra Harmon, 0099507609, 9780099507604, Putnam, 1985
    Elvis and Me, 1985, Priscilla Beaulieu Presley, Sandra Harmon, 0099507609, 9780099507604, Putnam, 1985 DOWNLOAD http://bit.ly/1rpTwav http://goo.gl/RH1sg http://www.barnesandnoble.com/s/?store=book&keyword=Elvis+and+Me DOWNLOAD http://t.co/2wmCumHFRk http://bit.ly/1lPXi80 Elvis , Albert Goldman, 1981, Biography & Autobiography, 598 pages. Illuminates the man and the myth, the life and the times of the "King of the Age of Rock.". Elvis From Memphis to Hollywood, Alan Fortas, Alanna Nash, 2008, Biography & Autobiography, 322 pages. When in June 1968, clad in black leather, a nervous Elvis Presley made his now legendary '68 Comeback Special, Alan Fortas was one of the five friends asked to be on stage with. The inner Elvis a psychological biography of Elvis Aaron Presley, Peter O. Whitmer, 1996, Biography & Autobiography, 480 pages. A clinical psychologist offers a detailed psychological probe into Elvis's life, examining the agony and pain of his inner psyche and providing keen insights into his personal. If I can dream Elvis' own story, Larry Geller, Elvis Presley, Joel Spector, Patricia Romanowski, Mar 1, 1989, Biography & Autobiography, 331 pages. A long-time confidante of Elvis reveals intimate details of the legendary performer's dreams and disillusionments, showing his disintegration due to drugs and the harm to which. Elvis and Gladys , Elaine Dundy, 1985, Rock musicians, 288 pages. The complete idiot's guide to Elvis , Frank Coffey, 1997, Biography & Autobiography, 348 pages. Places Presley in his times and in musical history, profiles the people in his life, and provides details about his music, his films, his tastes, his death, and other aspects.
    [Show full text]
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • „Break on Through to the Other Side“: the Symbols of Creation and Resurrection/Salvation in Jim Morrison. Theological Explorations1
    TESTIMONIA THEOLOGICA XI, 2 (2017): 136-148 FEVTH.UNIBA.SK/VEDA/E-ZINE-TESTIMONIA-THEOLOGICA/ „BREAK ON THROUGH TO THE OTHER SIDE“: THE SYMBOLS OF CREATION AND RESURRECTION/SALVATION IN JIM MORRISON. THEOLOGICAL EXPLORATIONS1 Mgr. Pavol Bargár, M.St., Th.D. _________________________________________________________________________ Abstract: Although scholarship in many disciplines has paid much attention to the life and work of the American poet and vocalist of the band „The Doors“, Jim Morrison (1943- 1971), virtually no contributions to this topic have been made from a theological perspective. The submitted paper will seek to fill this lacuna at least to some extent. It explores the symbols of creation and resurrection/salvation as they appear in some of Morrison’s poems and lyrics. The paper will aim to argue that even though these symbols can have different meanings in Morrison and Christianity, respectively – and the latter ought to be in no way overlooked, much less leveled out – for Christian theology it is most helpful and refreshing to also engage in dialog with authors and ideas which are apparently non-Christian or even anti-Christian. Keywords: Symbol, Jim Morrison (1943-1971), Imagination, Theology and culture, Creativity 1. Introduction Even more than four decades after his untimely death, Jim Morrison (1943-1971), lead singer of the band The Doors, continues to be one of the most influential characters in the history of rock music, attracting the worldwide attention of people across cultures and age groups. However, it would be a mistake to view Morrison as a musician only as he also left a significant mark as a poet.
    [Show full text]
  • THE NORTHERNER Vol
    THE NORTHERNER Vol. 15, No. 17 Northern Kentu cky University Wednesday, February 4, 1987 B Beruit hostage applied to Northern by Drew Abas Turner. a n assistant instructor in (w1th Steen) is his application." said Steen did not say in his letter that Stt~ITwr1ler mathematics and computer science, Miller said Steen had taught at the escalating v1olence in Beirut was Robert Pol hill, an assistant profeBSOr of Humboldt State and Chico State the reason he wanted to leave Lebanon. A hostage in Beirut, Lebanon is one business studies, and Mithileshwar University in California. The AP Miller said he received Steen's ap· 4 of the applicants under consideration for Singh, chairman of the business studies reported that friends of Steen's in plication approxi mately three weeks employment in NKU's communications division, and their wives, were summon· California said he had written that he ago, before the Jan. 15 deadline. department, university officials confirm­ ed to Beirut University's office of cam· went to Beirut seeking adventure. But "He is a viable candidate (for the ed last week. pus services by the gunmen, who were in his last letter t.o a friend, Steen in· position)," said Miller. It will be up to The Associated Press reported that armed with M-16 and AK-47 assault dicated hi s fear of the deteriorating a recently formed committee to decide ~7 Alann Steen, 48, a journalism professor rifl es. si tuation in Beirut and wrote "the shells if Steen or another candidate will get at Beirut University College, was ab­ The four men were then forced by the seem to be landing closer than usual." the job.
    [Show full text]
  • Rock & Roll's War Against
    Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429
    [Show full text]
  • Didion, Joan the White Album
    Didion, Joan The White Album Didion, Joan, (2009) "The White Album" from Didion, Joan, The White Album pp. 11 -48, New York: Farrar, Straus and Giroux © Staff and students of Strathclyde University are reminded that copyright subsists in this extract and the work from which it was taken. This Digital Copy has been made under the terms of a CLA licence which allows you to: * access and download a copy; * print out a copy; Please note that this material is for use ONLY by students registered on the course of study as stated in the section below. All other staff and students are only entitled to browse the material and should not download and/or print out a copy. This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Licence are for use in connection with this Course of Study. You may retain such copies after the end of the course, but strictly for your own personal use. All copies (including electronic copies) shall include this Copyright Notice and shall be destroyed and/or deleted if and when required by Strathclyde University. Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is permitted without the consent of the copyright holder. The author (which term includes artists and other visual creators) has moral rights in the work and neither staff nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any other derogatory treatment of it, which would be prejudicial to the honour or reputation of the author.
    [Show full text]
  • Jim Morrison's Mythography Beyond the Death of God
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2009 Vision and desire: Jim Morrison's mythography beyond the death of God Ellen J. Greenham Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Poetry Commons Recommended Citation Greenham, E. J. (2009). Vision and desire: Jim Morrison's mythography beyond the death of God. https://ro.ecu.edu.au/theses/16 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/16 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]