Figure Of Love Research Articles

TWO-VOICE TEXTURE OF EKPHRASIS. FIGURE OF LOVE – EKPHRASTIC FORMS IN THE OEUVRE OF SVETISLAV MANDIĆ

This paper deals with ekphrasis in the poetry and essays by Svetislav Mandic, in their particular form, method of creation, and function, in relation to the author’s profile and the specific position of his oeuvre in terms of literary history. The ekphrastic nature of Mandic’s oeuvre is discussed using several characteristic examples from his essays and lyrical poetry. At the same time, what is emphasised is the fact that various forms of picturesque and iconic descriptions in Mandic’s oeuvre are not necessarily ekphrastic, which means that particular attention should be paid not to exaggerate about the significance of the ekphrase as regards the overall enterprise of Mandic. The final conclusion about the nature of Mandic’s ekphrasis – that it implies figures of love – is based upon the analysis of the examples presented in the paper.

The Conflict between Ego-consciousness and Anima and the Individuation in Film : The Conflict and Alchemical Combination between Two Figures of Love

The Conflict between Ego-consciousness and Anima and the Individuation in Film : The Conflict and Alchemical Combination between Two Figures of Love

O indivíduo, o amor e o sentido da vida nas sociedades contemporâneas

O texto propõe uma reflexão sobre a perda do sentido da vida coletiva na sociedade contemporânea como produto da crescente importância do amor como fonte de sentido na existência pessoal. A tese é desenvolvida em três etapas. Após uma caracterização inicial do amor como central na vida dos indivíduos contemporâneos, exploramos, num segundo momento, os contrastes entre as grandes figuras de significado (o Crente, o Cidadão, o Burguês, o Amante), insistindo nas características específicas de amante em relacao às figuras precedentes. Numa terceira etapa analisamos as principais tensões que a figura do Amor produz na vida social atual, desestabilizando os coletivos.

About Research in the Arts: a lover's discourse

Abstract: This paper is the result of an exercise of experimental re-writing and analogical thinking which had as an aim to open a new perspective on research in the arts. In terms of method, the different figures of love in Barthes' A Lover's Discourse are forced to talk about the relationship of researcher and object of study. This analogy allows us to find quality parameters based on a scale of values different to the hegemonic ones in the academy (productivity, competitiveness, innovation). These new parameters might constitute a solid ontological basis to build a new politics of artistic research in the academy that allow a radical reconsideration of processes of artistic research.

The gestural language in Francisco Goya's Sleep of Reason Produces Monsters

Of all the symbolic constituents in The Sleep (or Dream) of Reason Produces Monsters (El sueno de la razon produce monstruos), Francisco Goya's most famous aquatint etching from his Caprichos serie...

The Figure of Love in Augustine and in Proclus the Neoplatonist

The Figure of Love in Augustine and in Proclus the Neoplatonist

Erótica hispánica. Liebes- und Leibesfiguren im 18. Jahrhundert

Different to what is commonly accepted, there is a series of erotic texts, which not only prove the subversive side of 18th century Spain, but also should be considered an integral part of that century. The following article takes as a starting point Moratin’s Arte de las Putas with its many intertextual references to show central figures of love and the human body in Spanish literature of the Enlightenment. The poem holds twin references which are specific for many artefacts of late 18th century Spain: It continues a tradition of pre-modern grotesque erotica existing in Spain and at the same time shows an educational-reformatory body of thought, which indicates emerging discourses of sexuality. In these twin references to the educationally modern and the grotesquely pre-modern figures of thought a specific Spanish contribution to European Enlightenment(s) is demonstrated.

Christina Rossetti's Feminist Theology by Lynda Palazzo (review)

756 Reviews of Shelley's poetry. In some ways I read Shelley as a poet of obstinate questionings, who has, in Michael O'Neill's words, 'a dislike of reaching conclusions' (Romanti? cism and the Self-Conscious Poem (Oxford: Clarendon Press, 1997), p. 131). Peterfreund 's interpretations, however, are geared towards conclusions which are coloured by the predominance of either metaphor or metonymy: 'Metaphor is forward-looking, whereas metonymy is backward-looking. Metaphor is the figure of love expressed; metonymy, the figure of desire repressed. Metaphor projects while metonymy reifies' (p. 30). Metonymy is associated with 'bad'; metaphor with 'good'. For some texts, such as The Mask ofAnarchy, this makes sense, but some texts, e.g. The Cenci, clearly do not benefit from the simplified morality underlying the metonymy/metaphor ten? sion. For Peterfreund, Shelley's poetic development is characterized by 'the hope of a language that can somehow transcend the contingencies of the material and the temporal' (p. 270), which is in itself not a new idea, but this does not justify, I think, the rather strained over-reading of 'Ode to the West Wind', in which 'lyre' is read as a pun on 'liar' (and its connotations of limitations). Peterfreund is at his best in close readings, when he seems to forget about the restrictive framework he has set up; these readings?I particularly enjoyed sections on The Revolt of Islam?are informed by a formidable command of allusions and sources. His study is comprehensive indeed, but Shelley's poetic dramatization of humanity and its aspirations, however perverse, fortunately resists a late twentiethcentury moralistic framework. I am sure that many critics will vigorously debate Peterfreund's readings, and that we can expect exciting times ahead in Shelley scholar? ship, particularly now that we have farmore definitive texts of his work available to us. Victoria University of Wellington Heidi Thomson Christina Rossetti's Feminist Theology. By Lynda Palazzo. (Cross-Currents in Re? ligion and Culture) Basingstoke and New York: Palgrave. 2002. xiv+ 165 pp. ?45. ISBN 0-333-79469-9. Although important articles by,forexample, Coleen Hobbs (A View from the "Lowest Place": Christina Rossetti's Devotional Prose', Victorian Poetry, 32 (1994), 40928 ) and Joel Westerholme (' "I Will Magnify Mine Office": Christina Rossetti's Au? thoritative Voice in her Devotional Prose', Victorian Newsletter, 84 (1993), n-17) have begun to sketch the ambiguities and paradoxes of a devout Anglo-Catholic woman intervening in theological matters, Christina Rossetti's devotional prose and poetry continues to be neglected. Christina Rossetti's Feminist Theology is therefore welcome as the firstbook-length study of Rossetti's diverse and demanding devo? tional prose volumes, Annus Domini (1874), Seek and Find (1879), Called to Be Saints (1881), Letter and Spirit (1883), Time Flies (1885), and The Face of the Deep (1892). Palazzo's discussion works best as a clear, readable, and accessible introduction to these works, carefully explaining their religious contexts, symbolic structure, and key negotiations with the Bible (in particular the wisdom texts). Furthermore, and again as a crucial introductory tool, the study establishes a strong sense of teleology in Ros? setti's developing confidence as a religious prose writer,her evolution into a Victorian sage, and the shifting grounds of her theology. Overall, according to Palazzo, Rossetti's theology developed into a 'web ofwomen's experience' and 'from the wholeness and sense ofthe relatedness of things' (p. 139), located in marginal figures such as Mary in her early novella Maude but also, and especially as she grows in confidence and is prepared to take liberties with Scripture, in the mundane minutiae of everyday commonplace life. Palazzo presents a postRomantic and political Rossetti, who reinterprets Tractarian theology through S. T. MLR, 99.3, 2004 757 Coleridge's work on symbol and allegory and through a specifically female response to the repressions of patriarchal religion that deny the validity of women's experience and bodies. Rossetti develops an active theology that insists on its accessibility and relevance to the detail of women's everyday life. Furthermore?and this the book's most significant achievement?this argument challenges the dominant view that Ros? setti's religion was based on renunciation and repression, initiated in accounts by...

Literary and Historical Context in Ronsard's Sonnets pour Hélène

AbstractThrough her name and position at court Hélène de Surgères brings to Ronsard’s last collection of sonnets two conflicting referential systems: a literary tradition in which, beginning with the Iliad, Helen is a figure of love and war and a more or less realistic imitation of events in French society and the court of Charles ix. Ronsard adopts a local court convention in which love for Hélène allows successful evasion of the miseries of the civil wars, but he criticizes the convention by displacing its allegorical intent—transcendence of mundane and temporal difference—with an irony that internalizes and preserves that difference. Thus the irony, in aiming to avoid the referential contexts, actually marks them as ineradicable. Instead of presenting a platonizing view of the lady, the Sonnets pour Hélène reveal in her an inescapable contradiction that also is within the poems’ je and its constructions.