the groundhog day project

Benesh (2011) comes to a subsection of a subsection of chapter two on the Gestalt cycle of experience on page 45 of her dissertation. I'm only jumping ahead because she referenced it back on page 21 (where I left off). "The Cycle of Experience," Benesh explains, "presents a metaphor of 'metabolism' for taking in and expanding one's boundaries by exchanging boundaries with another entity" (p. 45). She explains further, "each point on the cycle is a microscopic reflection of the whole, like a fractal, and cycles of all sizes are presumed to be going on continually at interpsychic, interpersonal, group, and system levels. We can't attend to all of them at once" (p. 46). I'm reminded of Bacha (1998) who was once a mainstay of this blog. Bacha, at one point asks, "So, how does the mind work?" (p. 384). The answer is not a simple one. The immediate answer is this: A starting point might be to differentiate between three aspect...

I had in fact conceived this draft of the screenplay in seven acts. It seemed to me that breaking it up into smaller parts would make it easier to write quickly, and besides, it conformed to the way I was thinking about Phil and his predicament. I knew that Phil’s life would proceed in stages, that there was a natural order to how his life would progress. The stages would be as distinct and definable as those laid out by Elisabeth Kubler-Ross in her stages of death and dying (denial, anger, bargaining, depression, acceptance). I have been quoted, by the way, as saying that Phil’s stages were the same as those defined by Kubler-Ross, but that wasn’t my intention. (Rubin, 2012, p. 84) Rubin had Kubler-Ross in his mind, even if he didn't mean to ape them specifically. I think we all assume stuff happens in stages; we probably even did before Kubler-Ross published On Death and Dying more than forty years ago. It's the kind of thing we all know but when someone spells it out for...

Just watched Meatballs . Tripper Harrison is like my idol. Jumping right from Meatballs to Groundhog Day is interesting because the latter is some 14 years later and the style of comedy, not to mention the levels of Bill Murray's performance, is so very different. And, I like that Murray's character in the former is almost seeking attachment as much as his character in the latter is trying to avoid it. Of course, his romantic approach is not too different between the two. He starts out overbearing and eventually calms down enough to earn some actual attention and affection. But we are not gathered here today to talk about Meatballs , even if it does star Bill Murray and was co-written by Harold Ramis. Dearly beloved, we gather here today to pay our, well, probably disrespects to Julie Ellen Benesh. I should probably be more polite; I mean, she only wrote the dissertation a few years ago and I should email her or something. We could team up on something. I should also call ...