The life philosophy model I have been developing for the past twelve years and which is presented through this site is, as stated in my writings, bimodal. That was the beginning form. It is an exercise in hermeneutical theology, looking at how we understand God's revelation in our lives through the medium of time and language (Kit Apostolacus on Edith Stein). Over these many years, I have focused on two particular phenomena, a sudden "divine glance" whereby I received an intuition about Thérèse of Lisieux and a sudden "divine glance" whereby I received an intuition about Joan of Arc. This bimodal experience became the definition of my life, and anyone who knows anything about Thérèse of Lisieux also knows that she and Joan together represent a spiritual speciation of a more encompassing genus of French Spirituality. Thus, by simple syllogism, my life became defined by French spirituality.
My efforts in recent years have been around modeling the experience, the idea being that the instantiation of Joan and Thérèse in my life is an objective supernatural reality given to me through my own natural affective consciousness, the step-by-step development being what we call spirituality. The challenge to objectively model subjective phenomena began. The grace to accomplish this came through the philosophy of Edith Stein and her mentor Edmund Husserl. As I integrated Stein into my work, it became clear the she was the only philosopher who could close the system and give me relief in my search.
Through Husserl, I came to define the bimodal "divine glances" as his "primordial dator" which, according to him is the "principle of all principles." The area under the curves represents the speciation of the model through intuition of essential essence (Husserl) with the model developed in a "step-by-step" fashion (Stein).
The capstone for me, though, has been the one principle I added on my own that gave the model its final presentation and life - syntax. I added syntax after reading Husserl and experiencing the most serendipitous (seemingly) encounter with the works of the French pop artist Nolwenn Leroy (how unexpected!). That experience brought to light the principle of syntax which demonstrated how the model was "ordered" so as to be a complete instantiation of my "primordial dator" experiences in 1984 and 2008. Syntax represents the spirit that orders it to a certain rhythm and mathematical beauty.
That rhythm, mathematical beauty, and divine order is La France Mystique.
Above, I mentioned that syntax was the spirit that binds this model together as La France Mystique. It is the life-blood. I have no talent in the arts; I have only my philosophy. That is why I write and think. I love to write and think, or to think and write. It comes in any order, really. Sometimes I write to know what I'm thinking, and sometimes I think to know what I want to write. But the most exciting aspect has been that it is modeled in a way that can be shared with others. My subjective experience gets translated into an objective sharing of myself.
French language, culture, and history obviously play an important role in La France Mystique. They are, in fact, the very syntax that orders the rest of my thought processes. Mere ideology turns into personalized and humanized ideation in the French context through the combined hearts of Jeanne d'Arc and Thérèse of Lisieux. The Jehannian and Thérèsian French elements provide the spirit whereby it all comes alive, and, as the living spirit, it must therefore be called the syntax.
French language plays an even more specific role in the life of the model. I am not particularly skilled in French. I understand some; I don't understand much. Yet, it draws me closer to it as I study, engage in the music, reflect on the meaning, model its essence, and empathically experience its own syntax as manifested through others.
It is not as important to understand French as it is to love French. The latter will drive you to put forth effort in the former. The former naturally will evolve from the latter.