Garden Of Delights Research Articles

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The author reports from a summer 1984 sojourn in an old farm in the Asconian woodsin Sweden with af computer-audio-visual protoype ("Domestic Information Manipulation Systems") from the D. I. M. S/Experimental Home - project at the Psychological Laboratory, University of Copenhagen.He considers the necessities of a demand for essential datanetwork-intependency in a Scandinavian concept and design of the "common private household multimedium" of tomorrow. Further areas of demand are illustrated from considerations of previously accumulated tools, bits and pieces in the information-ecology of the farm and general problems of crossgenerational rearrangement and reconstruction there. A brief account of project-outlines and rationale behind the mentioned R&D-projectis given, and the imminent problems of the processes considered are interpreted as phenomena and targets of decision in cultural history, to be seen in a 500-years perspective. This is illustrated with reference to the triptych "Las Fresas" or "The Garden of Delights" by Hieronymus Bosch, which exemplifies important dimensionalities, which a domestic knowledge-data-base editing system must be able to incorporate and make users able to handle.

El erotismo de la niña-mujer en el jardín narrativo de Francisco Umbral y Mario Vargas Llosa

Se presenta un acercamiento a las coincidencias bio-bibliográficas existentes entre Francisco Umbral y Mario Varga Llosa, en particular, el tema del erotismo en su literatura. Se describe la presencia de arquetipos femeninos en sus narrativas, con especial énfasis en la figura de la niña-mujer, fruto de las lecturas de los mismos maestros franceses, y de la influencia de la música, la pintura y del cine en ambos escritores. Finalmente, se analizan de forma breve algunos personajes femeninos y su transmutación individual y en conjunto, así como su presencia mediante una sucesión de cuadros (un jardín narrativo) y metáforas que simbolizan las dicotomías bien/mal, pecado/redención, erotismo/amor, placer/dolor, cuerpo/espíritu.

Pandemics, Memes, and Sovereign Communication

The article analyzes the relation between the pandemic diffusion of the Covid-19 and the infodemicsdetermined by the proliferation of memes and other digital means, trying to restore a strong sense ofidentity (the “sovereignist” virus). The pandemic is not simply the antithesis of globalization and neoliberalideology. In fact, it can be complementary to them, indicating a different path of developmentbetween technology, consumption and lifestyle. This is akin to what William Burroughs meant when heput forward his theory of language as a virus. The Word, Burroughs elaborated, infected the biologicalorganism of pre-alphabetic man, determining his expulsion from GOD (the “Garden of Delights”). Thehistory of human civilization is, therefore, read as a tremendous reversal of the relationship betweenbody and thought–in the sense that thought is read as an entity alien to the body that acts almost conspiratoriallywith respect to it.The author considers, that the blatant effect of the virus is not only to subvert the routines of expertsystems, but our perception of social reality taken for granted for too long.Key words: pandemic, memes, civilization, word, «sovereignist» virus.

70 Hebrew Words Every Christian Should Know

70 Hebrew Words Every Christian Should Know

Nobility or Utility?Zamindars, businessmen, andbhadralokas curators of the Indian nation in Satyajit Ray'sJalsaghar (The Music Room)

AbstractThe Bengalibhadralokhave had an important impact on Indian nationalism in Bengal and in India more broadly. Their commitment to narratives of national progress has been noted. However, little attention has been given to how ‘earthly paradise’, ‘garden of delights’, and related ideas of refinement and nobility also informed their nationalism. This article excavates the idea of earthly paradise as it is portrayed in Satyajit Ray's 1958 Bengali filmJalsaghar, usually translated asThe Music Room.Jalsagharis typically taken to depict, broadly, the decadence and decline of aristocratic ‘feudal’ landowners (zamindars) who were granted their holdings and, often, noble rank, such as ‘Lord’ or ‘Raja’, during Mughal or British times, representing the languid past of the nobility, and the ascendance of a restless business-oriented class that represents an emerging present and possible future. Thezamindarsare shown as pursuing aesthetic and spiritual delight, ecstasy, and edification through soirées. These soirées are produced for those among the nobility who are sufficiently cultivated and cosmopolitan to appreciate the finer things in life, such as the classical music and dance showcased in this film. The businessmen, too, aspire to host such exceptional events, but are too crass to do so properly and, moreover, they are motivated by a desire to accrue prestige, thus using soirées as a means to an end, rather than to experience aesthetic and spiritual elevation as an end in itself. I argue that the film calls on thebhadralokto value aesthetic cultivation and to actively counter its evanescence. The film thus beckons and authorizes thebhadralokto sustain the value of the timeless past, including nobility and refinement. Yet thebhadralokare also expected to embody and expand a new, progressive, and utilitarian spirit that would modernize India. With the aristocrats gone, and the entrepreneurs eager to assume authority, the film charges thebhadralokto construct a nationalism in which the immortal, character-building values of classical art, for example, can yet be sutured to utilitarian progressivism. I argue that the film conveys this even though it does not explicitly portray or even mention thebhadralok, or feature uniquely Bengali music and art. Accordingly, this article does not focus on the actual aesthetic and political practices ofbhadraloknationalism. The aim is to shed light on one genealogy through which thebhadraloksanctioned themselves as India's stewards along these lines.

On the “Garden of Delights” as a model of analysis of the intercultural communication processes

The observation of Hieronymus Bosch’s “Garden of Delights” triptych is the starting point for a short essay on the possible interpretation of this work by its last purchaser, Filipe II of Spain. Additionally, this essay leads to the proposal of a model, based on three categories of analysis, for the critical interpretation of the global course that humanity has been taking since the beginning of the great intercontinental navigations, initially carried out by the Portuguese and the Spanish. The proposed model intends to contribute to the defragmentation of the memory of a long process marked by the tension between hegemonic forces and dynamics of interculturality.

Painting the Hortus Deliciarum—Medieval Women, Wisdom, and Time by Danielle B. Joyner

Reviewed by: Painting the Hortus Deliciarum—Medieval Women, Wisdom, and Time by Danielle B. Joyner Mihaela L. Florescu Danielle B. Joyner, Painting the Hortus Deliciarum—Medieval Women, Wisdom, and Time (University Park, PA: The Pennsylvania State University Press 2016) 242 pp. The Hortus deliciarum, which translates into English as "the garden of delights," is an important twelfth-century manuscript because it challenges the traditional view that only men created texts in medieval European culture. The HD was made by women with an immediate female audience in mind beyond the wider audience of men. Danielle B. Joyner has produced a magnificent book on the creation and meaning of the HD. Her informed text connects perfectly with the beautiful images culled from the HD. Unfortunately for medieval purists, the only surviving proof that the HD ever existed comes from later sources. In 1818, Christian Moritz Engelhardt portrayed medieval life as an interpretation of the HD. The mid-nineteenth century saw a study of this important work by Comte Auguste de Bastard. Baptiste Petit-Gerard also studied the codex, his notes only being published in the 1950s. Medieval scholars only have a partial facsimile of the HD, published in 1979 by the Warburg Institute. The facsimile, gathered from nineteenth-century sources, represents the recreation of nearly half of the imagery and two-thirds of the text of the original manuscript. The history of the HD is closely tied to that of the history of the small monastic community of Hohenbourg, in Alsace. Duke Frederick II of Swabia invaded Hohenbourg in the early twelfth century. His son, Frederick Barbarossa, appointed Relinde as abbess and it was under her rule that the [End Page 218] community was rebuilt, Augustinian rule was adopted, and work on the HD was presumably begun. In the early 1170s, Herrad succeeded Relinde as abbess and work on the HD continued. In the manuscript, Herrad is portrayed as producing the codex and directing the work of the nuns, yet nineteenth- and early-twentieth-century scholars were so biased by the mores of their times, they refused to consider that women were capable of such work. The existence of the HD challenged established male hierarchies. Today, however, there is no doubt, and it is openly recognized, that women in the twelfth century were indeed responsible for the production of this magnificent manuscript. The content of the HD features themes from the Bible. It includes the following: fols. 1r–v: introductory texts; fols. 2r–66v: Old Testament visual and textual narratives; fols. 67r–84r: Old Testament textual recapitulation; visual and textual transitional material; fols. 84v–167r: visual and textual narratives of Christ's life; fols. 167v–199r: visual and textual narratives of apostolic missionary work; fols. 199v–241r: visual and textual narratives of moralizing allegories on the soul and Ecclesia; fols. 241v–263v: visual and textual narratives of prophetic end-times; fols. 264r–315v: textual recapitulation, texts on church synods, canon law; fols. 316r–322r: computus tables and texts; fols. 322v–323r: portrait of Hohenbourg past and present; fols. 323v–324v: concluding verses. Chapter 1, "Feminae, Libri, et 'Hortus deliciarum'", places the HD in the context of its times. Herrad is portrayed as giving instructions on iconographies featured in both the Guta-Sintram Codex and the Rupertsberg Scivias. In addition, similar moralizing themes appear in an array of medieval manuscripts. On the topics of pride and virginity the HD is similar to works such as the Speculum virginum, the Liber floridus, and the Zwiefalten. Chapter 1 brings to light a number of further comparisons. Visual distinctions are noted between the HD and St. Albans Psalter. Yet, the HD stands apart from its brethren by its sophisticated imagery and by its use of visuals in places where text would normally be employed. Chapter 2, "Stellae et Tempora", examines the first folios of the manuscript which are devoted to the story of Creation. The addition of sin into the world is compared to the existence of the Trinity and the creation of times. Narrative imagery and diagrammatic images and texts are used to portray the story of Genesis in a display of fluid twelfth century style. In Chapter 3, "Artes et Computus," the liberal arts...

Representing a divided place: the artistic-military practice of Mladen Miljanović

This essay on the work of the Bosnian artist Mladen Miljanović, born in Zenica, Yugoslavia, in 1981, is wrought around an account of the divided place in which his art is mobilised. Following a short military term, Miljanović enrolled at the Academy of Arts, in Banja Luka, where he still lives. A potent opposition to a divisive ethno-nationalist politics ever-present in the post-conflict, post-socialist, transition era of Bosnia-Herzegovina, Miljanović deploys what he calls an artistic-military practice. Incorporating cartographic and military surveying techniques learnt at a reserve officer military school, Miljanović deconstructs his own soldierly past and interrogates, through his artistic-military practice, an ethno-nationalist militarised Bosnia-Herzegovina. I focus in the main here on the artist’s recent attempt to represent post-conflict Bosnia-Herzegovina at the 55th Biennale di Venezia, a granite triptych entitled, The Garden of Delights.

“Pay It Forward”: Siblings and Psychotherapy—Comment on “Thinking About Our Work: Siblings” by Walter N. Stone

349 1 Adjunct Professor, Fordham University; Faculty, New York University; Clinician/Coordinator, Addiction Institute of New York, Mt. Sinai Roosevelt Hospital; and private practice, New York. Correspondence should be addressed to Claudia Arlo, LCSW, CGP, 330 West 58th Street, Suite 303, New York, NY 10019. E-mail: Claudia.Arlo@gmail.com. You don’t pay love back. You pay it forward. —Lily Hardy Hammond, In the Garden of Delight

De/framed visions: reading two collections of gardens at the Xi'an International Horticultural Exposition

In landscape, we form meaning through placefulness; as Martin Heidegger observed, ‘“place” places man in that dimension which reveals the revealing meaning of being’. 1 Gardens infer a more acceler...

Tales of lights and shadows: mythology of the afterlife

Introduction 1. In That Good Night, What Dreams May Come?: Taking Afterlife Seriously vs. Virtual Disbelief or Unconcern 2. The Hunger and the Happy Fields of the Dead: Gloomy views of the Afterlife vs. Bright, Happy Pictures 3. The Several Homelands of the Heart: Abodes of the Soul 4. Grottoes of Earth and Heaven: Immortality Here and There 5. Circling Paths, Endless Journey: Reincarnation on this Earth vs. Eternal Life in a Heavenly Realm 6. God or Garden of Delights?: Is Heaven Theocentric or Anthropocentric? 7. Progress or Perfection?: Does One Grow Spiritually in Heaven? 8. Ghostly Fear and Love: The Dread of Ancestral Spirits vs. Respect and Honor 9. On the Long March: Community and Religious Solidarity vs. Individual Reward and Punishment 10. Amazing Grace: The Difficult vs. the Easy Path 11. The End of Days: Linear and Cyclical Time 12. Havens for Heroes: Ordinary vs. Extraordinary Destinies after Death 13. The One and the Many: Individual Afterlife Destinies vs. Union with God 14. Conclusion: Afterlife and Culture Bibliography Index.

The Play of Repetition and Resemblance in The Romance of the Rose

The play of repetition and resemblance in The Romance of the Rose is a pervasive dynamic that contributes to the poem's general tendency to subvert straightforward interpretations of its allegorical meaning. To date, the workings of opposition and difference have received much more scholarly attention than those of repetition and resemblance. This is not surprising considering the Narrator's explicit endorsement of difference as productive of knowledge and understanding. (l) As a structural and organizational principle of the Rose, however, repetition possesses hermeneutic and thematic significance. By repeating central episodes in Guillaume, heightens ambiguities inherent in the first section of the poem, themselves caused by repetition. Repetition also implies similarity, or resemblance. Despite the differences between the character of the Narrator-Lover, the personification Fair Welcome, and the symbol of the rosebud, all three resemble one another. They are all characterized by a profound indeterminacy, which undermines not only the coherence of each, but also any definitive reading of the nature of their relationship. Because the central love relationships in courtly romance are overtly heterosexual, it makes sense to read the Rose as an allegory of courtship and seduction in which the rosebud and Fair Welcome stand for the female beloved and/or some attribute of her. Luce Irigaray argues, however, that sexual difference, the dynamic that informs heterosexuality, is really a mask for masculine self-sameness. Patriarchal discourses construct woman not as an other to, but as the same as, the masculine. (2) If masculine self-sameness constitutes feminine otherness, to what extent is the rosebud an image of the Narrator-Lover himself? The Narrator-Lover's desire for the bud is premised upon a dynamic of sameness, which is only partially masked by conventions of sexual difference. This sameness discloses itself in an underlying resemblance between the Narrator-Lover, Fair Welcome, and the rosebud as radically indeterminate constructs. Scholarly references to repetition usually focus on the relationship between the work of Guillaume and Jean. Per Nykrog sutas it up nicely: au niveau de l'action, de l'histoire racontee, ces 6500 premiers vers par constituent essentiellement une repetition et une expansion de ce que Guillaume avait deja raconte en 80 vers (2955-3134), l'Amant ecoutant les avis de Raison et ensuite, apres avoir refuse la resignation qu'elle recommande, les encouragements donnes par Atai. (9) at the level of action, of the recounted story, these first 6500 lines by essentially constitute a repetition and an expansion of that which Guillaume had already recounted in 80 lines (2955-3134), the Lover listening to the advice of Reason and afterwards, after having refused the resignation that she recommends, the encouragements given by Friend. (3) A number of reasons are offered as to why repeats Guillaume. C. S. Lewis states that he did not know what he was doing: Thus three of his episodes--the descent of Reason, the reassurances of Frend, and the coming of Venus--merely repeat episodes in his original (140). Nancy Freeman Regalado alleges that Jean's repetition of Guillaume is intentional and provides readers with a model of how to interpret the poeta: Jean himself practices the reading to which he aims to lead the future reader by reproducing the Roman of Guillaume and again (101). Readers of the romance are meant to repeat the lessons presented in the Rose. Kevin Brownlee argues that Genius rewrites Guillaume's Garden of Delight in order to criticize and correct it (125). Susan Stakel notes Jean's repetition of the Lover's recitation of the commandments of Love at the Fountain of Narcissus in Guillaume. The point of the repetition is structurally significant, with the Lover's recitation in Guillaume occurring at the midpoint of his 4000-1ine romance, and in at the midpoint of the conjoined romance. …

Revamped trust website promises visitors access to a garden of delights

South London and Maudsley NHS Foundation Trust’s recently-relaunched website reflects its change of focus in recent years. Dan Charlton explains why this redeveloped site is much more than just another public service homepage

Gardens of delight

We are all aware of the importance of offering quality play experiences in outdoor environments, but setting up and providing a stimulating play garden requires vision, planning and flexibility.

Touch and Transport in the Middle Ages

❦Touch is trouble in medieval accounts of the five senses; but it is touch that also tenders the most extravagant promises: promises of transcendence, higher knowledge, eternal fame, miraculous cures to mortal ailments, joyous couplings with supernatural bodies. The trouble is traceable to Aristotle; the extravagant promises to the Gospels. The two meet in high medieval culture, with momentous consequences for the subsequent cultural history of the West. Aristotle had, of course, elevated the senses to a lofty role: that of gateways for all forms of knowledge, each sense clearly separable from the next and rationally ordered. 1 As in Plato, the order in question was hierarchical, with sight, physically the coolest and cognitively the most intellectual of the senses, at the top of the pyramid, followed by hearing, smell and taste, with touch at the bottom and hot point of the cognitive pyramid. According to Aristotle (and on this point he was followed by Cicero, Alan of Lille, and the illustrator of Herrade von Landsberg’s Garden of Delights [Hortus deliciarum], among many others), this hierarchy is directly mapped onto human anatomy:

Fiona J. Griffiths.The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century

Fiona J. Griffiths.<i>The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century</i>

The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century (review)

The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century (review)

The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century. Fiona J. Griffiths

<i>The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century</i>. Fiona J. Griffiths

Fiona J. Griffiths.The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.:The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.(The Middle Ages Series.)

Fiona J. Griffiths.<i>The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.</i>:The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.<i>(The Middle Ages Series.)</i>

FIONA J. GRIFFITHS. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century. (The Middle Ages Series.) Philadelphia: University of Pennsylvania Press. 2007. Pp. 381. $65.00

FIONA J. GRIFFITHS. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century. (The Middle Ages Series.) Philadelphia: University of Pennsylvania Press. 2007. Pp. 381. $65.00