Maternal Archetype Research Articles

WALTER BENJAMIN NFT'LERE TANIKLIK ETSEYDİ: KRİPTO SANATA ONUN GÖZÜNDEN BAKMAK

This study aims to examine crypto art in the context of aura (halo), uniqueness, testimony, and, authenticity by evaluating digital NFT technology from the perspective of Benjamin, who has only experienced image technologies such as photography and cinema. The research argues that the aura did not vanish with crypto-art in fact, an aura similar to the one described by Benjamin (1935) has never emerged. In this context, the study argues that the uniqueness that Benjamin said was separated from the work of art by technological reproduction is returned to the work of art with more advanced technology named blockchain. The study seeks an answer to the question: "Is aura possible for an NFT?". The study argues that the cult value in traditional art has replaced by the value of ownership with NFTs, the notion of uniqueness has turned into digital scarcity, the state of being tied to the ceremony has been replaced by freedom, and the new form of the aura is that art is freedom from the maternal archetype.

Психобібліографія Богдана Ігоря Антонича: між материнським і батьківським світами

The article deals with Bohdan Ihor Antonych’s art phenomenon, in particular the factors and trends of his creative evolution. The psychoanalytical approach is helpful in revealing concealed psychical frameworks in the author’s (art) consciousness, and also the key role of Maternal and Paternal archetypical figures in Antonych’s artistic world and writing technique as well. According to the purpose of considering the evolution of B. I. Antonych’s works through the prism of his lyric subject’s Oedipus attraction to Maternal and/or Paternal figures, the concept of “psycho-bibliography” has been proposed. In this concept, the notions of “psychobiography” and “bibliography” are combined. As an experimental literary study field psycho-bibliography assumes projecting the artist's psychical evolution onto his oeuvre, in particular, onto the periodicity of the publication of his books. Despite the harmonious relationships in Antonych's family, his works have shown a confrontation with the Paternal figure caused by his challenged separation from the Maternal figure. Both lead to deep internal conflicts in the writer’s psyche. In the article, it has been defined the specifics of the Paternal and Maternal semantic codes’ implementation in the poetics of B. I. Antonych, has been deciphered the poetic code of their symbolization, as well as characterizes the mental fluctuations expressed in the lyrics between Maternal and Paternal figures as the basis of an alternative interpretive strategy of the artist's work. The B.-I. Antonych's debut collection "Greetings of Life" (1931), despite the dominant motives of travel, youth, and sports, contains a number of poems on the topic of creativity as a dangerous but inevitable vocation for the lyrical subject. For him, creativity is associated with maternal power. He perceived his own devotion to it as a betrayal of the parental authority. As a symbolic compensation for this "sin", the collection "Great Harmony" (1932-1933) has been written. "Great Harmony" is marked by the dominant motives of trust in God and his Guidance, by which the parental archetype is guessed. In the poetics of the next collection, "Three Rings" (1934), the maternal archetype is actualized again. The priority of maternal energy is expressed through the symbolic triad "Night"-"Nature"-"Song" ("Creativity"). The lyric hero is ready to dissolve in the maternal substance, although it can reinforce his fear of confrontation with the parental world, as well as the fear of losing himself in the maternal one. The yearning to reduce this fear had caused a compensatory attraction to the paternal substances Logos, Law, and Order - in the next collection "The Book of the Lion" (1935). The balancing of maternal and paternal energy determines the poetics of the last B. I. Antonych’s collections "Green Gospel" and "Rotation" (both were published after the author’s death in 1938). The motive of death as the end of the life cycle characterizes the resolution of the mental conflict and the completion of the poet's / his lyric subject’s psychical evolution. The psycho-bibliographical approach of rereading Antonych’s oeuvre expands its interpretative field. In the article, contrary to numerous Antonych’s biography studies, there is an attempt to explain the strange logic of noticed author’s mental and art “ambiguity”.

La relation mère-enfant dans la dramaturgie staëlienne

"The Relationship between Mother and Child in Staël’s Playwriting. The article aims to analyse the plays of Germaine de Staël Agar dans le désert, Geneviève de Brabant and La Sunamite, considered as serious dramas, brought together in the perspective of the maternal relationship. The maternal archetype follows the form of the mater dolorosa capable of the greatest sacrifices. The child is seen as being inseparable from the mother and is often an innocent victim of human sins. Passionate love as the essential coordinate of romanticism is replaced by maternal love and by the love of God. The plays have a clear moralizing value, but the pathos of declamation and the introspection, characteristic of romanticism, are well visible. Keywords: Germaine de Staël, theatre, maternal relationship, romanticism."

The Role of the Maternal Archetype in the Work of Flannery O’Connor

The Role of the Maternal Archetype in the Work of Flannery O’Connor

Pachamama: Images of the Great Mother, Cultural and Clinical Perspectives in Sandplay Therapy

The author explores the South American Nazcan image of Pachamama as the Great Mother from both a clinical and a cultural perspective. The story of Pachamama told through oral tradition invokes the primordial transformative cycles of life, death and rebirth. Through the multiple maternal images and symbology of nature as womb, mountain, rivers, turtle, tiger and trees, as well as African and South and North American goddesses, including Pachamama, Our Lady of Charity (La Caridad del Cobre) and Ochún, this article presents the process of a 6-year-old girl finding the Great Mother within who could hold and heal the fragmentation of the psyche resulting from childhood trauma involving sexual abuse, severe neglect and separation from the biological mother. Through the sandplay scenes created within a safe and nurturing therapeutic relationship the child accesses the maternal archetype to support the transformation and integration of her early trauma.

The Italian family, motherhood and Italianness in New Zealand. The case of the Italian community of Wellington

Synopsis Recent studies of the Italian diaspora have examined the role of migrant families in constructing Italian identities. The mother's role is normally that of reproducing and guarding Italian morality. Different scenarios are also possible, with mothers often questioning, resisting or revising the models imported from the homeland. Based on fifty interviews with members of the Italian community of Island Bay, Wellington, the article looks at how the Italian maternal archetype and the extended family have been translated to New Zealand. It focuses on themes which underscore the links between mothering practices and Italianness: food, family, women's work, gender roles, raising sons and daughters, living-at-home children and intergenerational relations. These aspects are examined against ideals, ideologies, practices and policies current in Italy and New Zealand, to assess areas of departure from the Italian models, the influence of the host country and the impact of change on the community's sense of Italianness.

From the Absent Mother to the Oppressive Mother to the New Mother in Lucía Etxebarria's Un milagro en equilibrio

This article examines the transformation of maternal and paternal images that occurs in Lucía Etxebarria's 2004 novel Un milagro en equilibrio. Sandra Schumm argues that the novel engages and transforms the postwar archetype of the “absent mother.” Using Schumm's study as a springboard, my article takes this argument further by showing how Etxebarria rewrites a second maternal archetype, the “oppressive mother,” a figure that symbolizes patriarchal values and the Francoist regime in many postwar narratives by women. At first, protagonist Eva Agulló characterizes her mother, Eva Benayas, as one of these oppressive mothers, a characterization that Etxebarria has also employed in her two most famous novels to date, Amor curiosidad, prozac y dudas and Beatriz y los cuerpos celestes. Un milagro en equilibrio marks a change in Etxebarria's treatment of mothers because, as the novel progresses, Agulló questions and then complicates this portrayal. The Benayas that emerges is a complex woman influenced by personal, familial, and national conflicts. Conversely, Agulló's father comes to assume more culpability for family abuse and dysfunction as Agulló associates him with Francoism. This reassessment of maternal and paternal roles demonstrates Etxebarria's own evolution in maternal representations as it dialogues with and recreates previous works such as Ana María Moix's 1969 novel Julia and Ana María Matute's 1959 Primera memoria and 1969 La trampa—three foundational novels that also employ tyrannical maternal figures. In rejecting the oppressive mother role she had assigned to her mother, Agulló rewrites a long history of maternal figures associated with the Francoist regime in many postwar narratives by women.

„Kinematografia dla milionów”

„A Cinema for the Millions”. The image of community in musical comedy films of Grigorii Aleksandrov
 Grigorii Aleksandrov’s films created with composer Isaak Dunaevskii were among the most popular of Russian cinema in the 1930s and 1940s. The first Aleksandrov’s film Happy Guys centered on the poetic of comedy as ideology or entertainment. In the article author describes the strategies of manipulation. The Soviet musical incorporated Stalinist ideology and nationalism. The patriotic language in soviet comedies is naturalized, it seems like songs in films were more about nature than politics, patriotic love and life‑ affirming laughter. Aleksandrov used archetypes and myths of the Stalin era and produced image of mythical soviet community. The maternal archetype is present in fertility imagery and is spatially encoded as “Rodina” (“homeland” or “motherland”). He put an end to the 1920s cult of ugliness in Soviet cinema and convinced Stalin, that beauty is a necessary element of Soviet art. Aleksandrov’s films reproduced the dominant ideology and gave people what they wanted – entertainment, escape from the travails of the everyday, and hope for the better life.

Mobilizing Mother

The American press played a key role in the Wilson administration’s effort to craft an image of the Patriotic Mother of the Great War. The Patriotic Mother of a soldier was encouraged to assume the mantle of the Spartan Mother. This monograph contrasts the Spartan Mother archetype used by the government and the press to another wartime maternal archetype, that of Thetis, the mother of Achilles, who objected to her son’s participation in the Trojan War. U.S. mothers of soldiers were socially and politically positioned to assume the role outlined by the Wilson administration and advocated by the news media.

Colonial Saints: Discovering the Holy in the Americas, 1500-1800 (review)

Reviewed by: Colonial Saints: Discovering the Holy in the Americas, 1500-1800 Santa Arias Colonial Saints: Discovering the Holy in the Americas, 1500-1800. Edited by Allan Greer and Jodi Bilinkoff. (New York and London: Routledge. 2003. Pp. xxii, 317. $24.95 paperback.) Colonial Saints is an outstanding compilation of fourteen essays by scholars in history, art history, and literature from Canada, Latin America, and the United States. The collection offers a series of historical and cultural readings that point toward the relevance of saints in the understanding of the colonial political and spiritual culture in the American hemisphere. The essays offer new examples of transatlantic continuity and hemispheric connections. With an interdisciplinary approach, religious spirituality is viewed in terms of a cross-cultural conquest that transcended time, influenced politics, and shaped cultural identity. Many essays demonstrate that Colonial sainthood was a religious, social, and political construction that played a major role in colonial history (e.g. religious contact, conversion, and resistance to Christianity). Some essays underscore the relevance of saints' lives on issues of gender, race, and class. In many cases we learn how these categories help define local culture and early national ideals. The excellent introduction by Jodi Bilinkoff provides an overview of the Western cult of saints that led to the proliferation of hagiographies and popular religious manifestations during the early modern period. Against the Middle Ages, she explains how the emergence of the printing press and the Counter-Reformation were fundamental in the reproduction of saints lives and their inscription in the early modern worldview. The introduction justifies the selection of essays and brings to the forefront common themes across the Americas that tend to be studied in isolation. A key statement that should resonate with scholars of religious colonial culture is that while we try to understand the "spiritual conquest" of the Americas we must also acknowledge the "conquest" of Christianity. Transculturation occurred both ways, and [End Page 461] the study of colonial religious culture and its present legacy certainly demonstrates this experience. The articles are grouped into three sections. The first section, "Cultural Mixing," explores how the manifestations of the sacred in the Americas must be studied within a wider cultural context that is not only white and Christian. Villaseñor Black presents a comparative study of the maternal archetype found in the depiction of St. Anne, mother of Mary. She links the Mexican emphasis placed on St. Anne with its deep cultural and political roots. Another piece from this section, by Ronaldo Vainfas, in a similar manner looks at the colonial legacy and transformation and appropriation of St. Anthony in colonial Brazil. Blurred boundaries between indigenous and Christian beliefs, a theme found in several essays of the collection, are explored in Tuer's excellent reading of the Creole Jesuit Antonio Ruiz de Montoya's La conquista espiritual del Paraguay. In this section the essays explore compelling Amerindian and African appropriations. Essays in the second group, "Holy Women, Holy Men," shed light on martyrdom and male and female holiness. Jodi Bilinkoff, for example, engages the hagiography of Gregorio Lopez by Francisco Losa to show the complexities of life-writing within the context of the Counter-Reformation and the common thread of transference that can be reproduced in hagiographies and biographies between author and subject. In the last section, "The Uses of the Sacred," the essay by Julia Boss explores the relationship that seventeenth-century Catholics in New France constructed between hagiographies and accounts and relics. Two other outstanding essays study independently two crucial icons, the Mexican Guadalupe by William Taylor and Santa Rosa de Lima by Kathleen Myers. Regardless of the vast literature on these two figures, they are able to shed more light with an insightful analysis on the politics of hagiographies in the process of canonization (Myers) and the role of financial records on the centuries-long debate on the apparitions of Guadalupe (Taylor). Colonial Saints is a well balanced, comparative, and interdisciplinary collection. These elements compete to offer an insightful and comprehensive view of saintliness in the Americas and diverse approaches for its study. Santa Arias Florida State University Copyright © 2007 The Catholic University of America Press

Feminism, ecofeminism, and the maternal archetype: Motherhood as a feminine universal

This essay analyzes the use of the maternal archetype in ecofeminist rhetoric. The maternal archetype is a rhetorically powerful image that is invoked to motivate the protection and sustenance of the environment. However, the use of motherhood as a unifying principle confounds womanhood with motherhood, and fails to honor the complexity of motherhood as an ideologically and socially constructed institution. A gender‐neutral metaphor may more effectively serve both the environmental and feminist interests of the ecofeminist movement. This analysis leads to the conclusion that invoking archetypal images uncritically may serve to obscure alternative cultural, ideological, and political values.