The study of literature from the point of view of the search for archetypal images and the study of artistic creativity from the standpoint of structuralism are two important trends. Both of these trends have emerged in the contexts of different scientific paradigms. The origin of archetypal criticism is associated with the figure of Herman Northrop Fry, and the basis of archetypal criticism is psychology, namely the concept of psychoanalysis, founded by Sigmund Freud and Carl Gustav Jung. While the origin (...) of structuralism is associated with linguistics and the name of Ferdinand de Saussure, who first began to consider language as a system of signs in which each element defines other elements and is itself determined by them. With all the difference in origin, in general, both theories do not contradict each other - on the contrary, they complement each other. Archetypal literary criticism and structuralist theory of art have deep internal theoretical connections in several ways: both theories look for repetitive elements in literature, both consider literature as a space of memory about the past. Archetypal literary criticism and the structuralist theory of art direct the appeal to the psychology of man as the creator of works of art. Both directions are also largely based on the idea of binary oppositions: within the framework of the archetypal criticism of the pair, many archetypes are grouped into pairs, whereas within the framework of structuralism, the idea of structure itself is based on elementary concepts opposed to each other; finally, both methods have been criticized for the same shortcomings, such as the denial of author subjectivity and the denial of human progress. This article attempts to show that the theory of archetypes in literature and the structuralist theory of art complement each other, and how exactly this complementarity is achieved. (shrink)

In the Evolution of Culture. The idea of cultural mentalities first arose in European anthropology's confrontation with global primitive cultures. During the early twentieth century's period of confident imperialism, the European nations articulated their confrontation with non-literate cultures in a poetic imagining of the 'primitive' as a Romantic 'Other'. As psychology developed in Europe to explore the unconscious as well as madness, a new ethnology also sought to enter into the mind of the primitive as an exotic place where logic (...) and reason did not rule. (shrink)

Resumen La literatura universal, se encuentra poblada de arquetípicos que comparten una condición de desamparo y marginalidad, siendo la literatura realista de la segunda mitad del siglo XIX la que constata y da cuenta de su condición. En un mismo sentido, también la Biblia presenta un sinnúmero de personajes similares, marcando un punto de inflexión al llamarlo bienaventurados. Así pues, el presente estudio bíblico-literario, se centra en el arquetipo de la “viuda pobre”, sosteniendo dicha ficción literaria es una clave interpretativa (...) de la realidad, a la luz de la teoría literaria de la Estética de la Recepción. El articulo estudia la “viuda pobre” como un imaginario cultural y estableciendo la recepción de dicho imaginario en los cuentos “El Chiflón del diablo” y “El pago” del escritor chileno Baldomero Lillo, demostrando cómo el dialogo entre cultura y Biblia representa un aporte a la comprensión de determinadas ficciones literarias como categorías antropológicas.Universal literature is crowded by archetypical characters who share abandonment and marginalization conditions, being second half 19,h century realistic literature that confirms and exposes those conditions. In that sense, The Holy Bible presents a number of those characters. Resides, it highlights a turning point, hence, The Beatitudes point out: “Blessed are the poor in spirit, for theirs is the kingdom of heaven”. Thus, the following biblical-literary study, centered in the “Poor widow” archetype, aims to the establishment of literary fiction as interpretative key of reality, under Wolfgang Iser Aesthetics Reception's theory as its methodology. The objective aims to postulate “Poor Widow” as a Cultural imaginary, and finally to establish the reception of that imaginary within the stories “El Chiflón del Diablo” and “El Pago” by the chilean writer Baldomero Lillo, demonstrating that the dialog between culture and The Holy Bible represents a contribution to some literary fiction s as anthropological categories. (shrink)

In this era of intense migration, the topic of the foreigner is of paramount importance. Joanne Wieland-Burston examines the question of the 'foreign' and 'foreigner' from multiple perspectives and explores how Jung and Freud were more interested in the wide phenomenon of the foreign in the unconscious rather than in their own personal lives. She analyses cultural approaches to the archetype of the foreigner throughout history using literary, cultural (as seen in mythological texts and fairy tales) and psychological references (...) and interprets the scapegoating of foreign minorities as a projection of the monster onto the foreigner. The book includes contemporary perspectives on immigration and displacement throughout, from analysing patient case material, the archetypal needs of people who join terrorist groups, feelings of alienation, and the work of Palestinian-German psychologist Ahmad Mansour. Throughout this personal and highly topical study, Wieland questions and studies C. G. Jung's own reflections on himself as a foreigner and her own personal experiences. (shrink)

In 2005, Charles Mills published “‘Ideal Theory’ as Ideology” in Hypatia: a withering critique of much of contemporary political philosophy and ethics. For Mills such work in philosophy failed to attend to the realities of social life and politics, and in remaining silent on actual issues of domination and oppression served an ideological role in supporting the interests of white bourgeois men. Around the time that Charles Mills launched his broadside against ideal theory, trans theorists had been fighting their own (...) battle against the abstraction of theory from the realities of trans lives and oppression. Vivian Namaste (2000) and Jay Prosser (1998) argued that contemporary gender theory failed to justice to the actuality of trans life, retreating instead to understanding trans life through literary archetypes and idealized radical figures. In this chapter I’ll compare Mills’ critique of ideal theory with the transfeminist critique of 1990s gender theory, arguing that they share much in common. Centrally, both critiques share an underlying commitment to theory needing to be grounded in the actuality of oppression and power relations. This common thread, I suggest, must continue to guide transfeminist thought and action: contra Marquis Bey (2022) transfeminist thought and praxis must continue to be about trans lives, about the oppression of trans women, and about ways of actually achieving liberation from our current dire position. (shrink)

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary (...) work Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

In this paper, I attempt to find a middle ground between the formalist critic, Vladimir Propp, and the psychoanalytic critic, Carl Jung. I argue that, instead of regarding Russian formalism and psychoanalysis as irreconcilable adversaries, the theories of the two figures can (and should) be unified; the result of which can be devised to establish a theory of what I call an ‘‘archetypal narrative’’. To be more explicit, Propp’s Morphology and Jung’s archetypal psychoanalysis are reconciled to bring about an archetypal (...) narrative theory, in which the underlying structure of narratives lies in the collective unconscious of humanity. (shrink)

This book takes the principles of archetypal pedagogy and applies them in exciting new ways to fields as diverse as literary studies, therapy and, of course, teacher education.

Partant de la “ définition provisoire ” que N. Frye dans Le Grand Code donne du littéraire qui serait “ une structure verbale qui existe pour elle-même ”, Robert Alter pense que cette théorie, qui reste au centre de l'ouvrage, est vulnérable du point de vue de la théorie de la littérature et par rapport à la description de la nature de la Bible. Dans les deux parties de cet article, R. Alter entend montrer comment la conception imaginative de Frye (...) est fondée sur toute une série d'interprétations plus ou moins systématiquement erronées des textes bibliques. Il rappelle que malgré la présence de la métaphore dans sa poésie, la Bible laisse cette poésie dans un “ genre minoritaire ” par rapport à l'emploi de la prose, principal outil de narration typique du projet biblique.Starting with the “Provisory definition” that N.Frye, in The Great Code. The Bible and Literature, , gives to literary: "a verbal structure that exists for itself, Robert Alter thinks that this theory, which is basic to Frye's work, is vulnerable from the point of view of literary theory and in relation to the description of the nature of the Bible. In the two parts of this article, M Alter wants to show how the imaginative conception of Frye is founded on a series of interpretations of biblical texts more or less systematically wrong. He reminds us that despite the Presence of metaphor in its poetry, the Bible leaves this poetry in a "minority genre" in comparison with prose, the principal tool of narration typical of the biblical project. (shrink)

This article studies some mathematical concepts which may be ramified in cultural environments, particularly in music and literature. The notions of definability (What may we capture with language, what escapes us?), representation (Which archetypes may be projected onto the world, which types arise from such projections?) and categoricity (Which unitary concepts govern the multiplicity of languages and images?) are narrowly linked with the essential issue of the trans, perhaps the crucial problem of our fleeting times.

In the article on material of seventeen texts, the problem of world outlook strategy in the American novel of the 21th century is studied. The most influential author’s models are considered: neodecadence, post-apocalyptic humanity, personal versions of social and psychological realism and existentialist consciousness. The main attention is paid to the description and interpretation of the general for modern American novels of a national picture of the world. The family history remains the stable level of a narration. At other level, (...) there is a depressive or protest word about a condition of life, about the absolute beginnings dooming the person to suffering. In the narrative center, there is a hero, who has to solve personal problems in the context of the opened emptiness capable to get metaphysical meanings or to replace them. Reducing dynamics of a plot and formation of character, the novel becomes a form of the image of a steady state. For this state, the complex combination of two literary archetypes is characteristic: Job and Hamlet. The love to the world is not provided, the problem of finding of arguments for continuation of life is perceived by writers as main. If the classical American novel has positioned itself between dream and the tragedy, the modern novel settles down between everyday life and emptiness. The key paradox of the studied art texts is connected with it: two forms of fatigue - not only from the Absolute responsible for weight of existence, but also from its absence connect in one complex. The hero does not know with whom he does not agree: God or with essentially subjectless life depriving any God of will, power and sense. Search of new moral rituals is represented in this situation quite natural. (shrink)

The following essay will deal with the statue gallery of the summi viri from the Forum of Augustus and will give an overview of the fragments and thus identifiable persons. In a second step, this essay analyses possible Augustan literary archetypes of the statuary gallery, namely Vergil’s Aeneid and Varro’s Imagines, and try to reconstruct further persons based on these possible predecessors. Finally, an annotated catalogue of fragments of the inscriptions is provided in an appendix.

It is often claimed that the use of depth psychology in the interpretation of ancient texts is irrelevant and methodologically unsound. Several typical Jungian archetypes, such as the shadow, the primordial mother, and the hero, were identified, interpreted and commented on from a post-Jungian perspective. The apocryphal Book of Baruch has typically been studied as a prime example of penitential prayer in the late Second Temple Period. In this study, the book was approached from the perspective of post-Jungian (...) class='Hi'>literary criticism. While Jungian literary criticism has become unfashionable as a result of Jung’s anti-feminist and anti-Semitic ideas, the usefulness of his theory to criticise itself was demonstrated. Although Jung’s work is haunted by racism, anti-feminism, and antisemitism, his work may still be useful for literary criticism from a psychological perspective. Contribution: The article demonstrated the value of the depth psychological approach to the interpretation of biblical material. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre (...) tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

The literary source of the main ideas in Aumann's article "Backward Induction and Common Knowledge of Rationality" is exposed and analyzed. The primordial archetypal images that underlie both this literary source and Aumann's work are delineated and are used to explain the great emotive impact that this work had on the community of game theorists.

The article is devoted to present Polish research on the literary work and philosophical thought of Hryhorii Skovoroda. The scientific reflection on Skovoroda’s legacy was initially carried out on the historical and literary level. It was initiated by Adam Honory Kirkor in 1874. In the context of the history of Ukrainian literature, Józef Tretiak, Ivan Franko and Bohdan Lepkyi presented the general characteristics of Skovoroda’s work, seeing in it only the original style and compilation character of thoughts. Ivan (...) Mirtchuk started his research on Skovoroda’s thoughts from the history of national philosophy, seeing in Skovoroda’s philosophy the features charac- teristic of Ukrainian philosophy, differing it fundamentally from Russian philosophy. As part of the research, it was possible to find an extensive article by Jarosław Ulwański, Philosophy of G.S. Skovoroda, published in 1930, in which the author presented arguments for a pantheistic interpretation of the Ukrainian philosopher’s thoughts. A breakthrough event was the publication of a monograph by Dmytro Tschižewskij, who formulated a view on the mystical philosophy of Skovoroda similar to the Western European mysticism of the 17th and 18th centuries. The interwar period ends with the work of Czesław Jastrzębiec-Kozłowski, in which the work of Skovoroda was analyzed against the background of Józef Hoene-Wronski’s messianic philosophy. After World War II and the 1990s, research on Skovoroda’s legacy was conducted primarily by philologists. Ryszard Łużny and Włodzimierz Mokry treated Skovoroda’s work as a Christian philosopher. In the 21st century, Polish research increasingly refers to philosophical interpretation. Denys Pilipowicz researched the ancient and patristic sources of Skovoroda’s mystical thought and compared it with the teachings of Paisij Velyczkovskyi. Iryna Betko analyzed his poetry from the perspective of Jung’s theory of archetypes. Michał Handzel conducted an in-depth historical and philosophical analysis of Skovoroda’s philosophy, seeing Skovoroda as a representative of the panentheistic trend, and Pavlo Snopkov examined the concept of Skovoroda’s self-knowledge from the perspective of Jung’s and Maslow’s psychological theories. (shrink)

This article applies a life history model to advance the evolutionary understanding of poetry that inspired nineteenth-century Swedish National Romanticism. We show that the characters featured in two of Erik Gustaf Geijer’s poems, “The Viking” and “The Yeoman Farmer”, display patterns of time perspective, mating effort, and parental invest­ment that are now recognized as central life history attributes: a fast strategy and a slow strategy, respectively. These patterns were identified by undergraduate participants who read excerpts of the poems that had (...) been stripped of identifying information and mentions of romantic or sexual relationships. Participants read each poem and rated each character on validated scales of the life history dimensions of mating effort and paren­tal investment, relationship interests and attractiveness, characteristics of his developmen­tal environment, and physiological characteristics. Results are consistent with generally accepted associations in life history theory and also inform current theoretical develop­ments and debates. Geijer had an intuitive understanding of life history patterns, which he used to create recognizable characters for his Romantic depiction of Swedish history. (shrink)

Publication date: 11 June 2018 Source: Author: Bianca Saputra East of Eden, published in 1952, has been criticized as both feminist and misogynistic in nature. This contrasting criticism can be attributed to the varied interpretations of female roles in the novel. This paper aims to examine East of Eden using feminist and archetypal theory. Archetypal theory studies roles characters play through fundamental and inherited symbols. These symbols are thematic associations that are common to humanity in general. Feminist theory analyzes texts (...) based on how power is manipulated to establish the dominance or subordination of either gender. In particular, feminist theory studies how females claim, assert or subvert power for themselves. Coupled together, the theories seek to understand how established conventions influence the female experience. By analyzing the intersection between the roles portrayed by the women in the Salinas Valley and societal expectations, this paper intends to explore the influence of tradition on decision making. (shrink)

This chapter analyzes traditional archetypes of divan literature—‘āşık (lover), ma‘şūk (beloved), and rakīb (opponent)—to show the presence of a dialectical discourse in classical Ottoman divan love poems. In both style and content divan poems display a comprehensive understanding of the postclassical Islamic philosophical conception of dialectic and argumentation theory, known as ādāb al-baḥth wa al-munāẓara. The focus on Ottoman love poetry and argumentation theory in this paper aims to demonstrate how the love poetry that developed in Ottoman culture is (...) more dialectical in form and content than Ottoman literary studies have recognized. (shrink)

This book provides a clear and nuanced appraisal of Hegel's treatment of Africa, India, and Islam, and of the implications of this treatment for postcolonial and global studies. Analyzing Hegel's master-slave dialectic and his views on Africa, India, and Islam, it situates these views not only within Hegel's historical scheme but also within a broader European philosophical context and the debates they have provoked within Hegel scholarship. Each chapter explores various in depth readings of Hegel by postcolonial critics, investigating both (...) the Eurocentric and potentially global nature of his dialectic. Ultimately, the book shows both where of this profoundly influential thinker archetypally embodies certain Eurocentric traits that have characterized modernity and how, ironically, he himself gives us the tools for working towards a more global vision. Offering a concise introduction not only to an important dimension of Hegel's thought - his orientation towards "empire" - but also to the various issues raised by postcolonial theory and global studies, this book will be of use to philosophers as well as advanced students of literary and cultural theory alike. (shrink)

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

It is often claimed that the use of depth psychology in the interpretation of ancient texts is irrelevant and methodologically unsound. Several typical Jungian archetypes, such as the shadow, the primordial mother, and the hero, were identified, interpreted and commented on from a post-Jungian perspective. The apocryphal Book of Baruch has typically been studied as a prime example of penitential prayer in the late Second Temple Period. In this study, the book was approached from the perspective of post-Jungian (...) class='Hi'>literary criticism. While Jungian literary criticism has become unfashionable as a result of Jung’s anti-feminist and anti-Semitic ideas, the usefulness of his theory to criticise itself was demonstrated. Although Jung’s work is haunted by racism, anti-feminism, and antisemitism, his work may still be useful for literary criticism from a psychological perspective.Contribution: The article demonstrated the value of the depth psychological approach to the interpretation of biblical material. (shrink)

This book provides a clear and nuanced appraisal of Hegel's treatment of Africa, India, and Islam, and of the implications of this treatment for postcolonial and global studies. Analyzing Hegel's master-slave dialectic and his views on Africa, India, and Islam, it situates these views not only within Hegel's historical scheme but also within a broader European philosophical context and the debates they have provoked within Hegel scholarship. Each chapter explores various in depth readings of Hegel by postcolonial critics, investigating both (...) the Eurocentric and potentially global nature of his dialectic. Ultimately, the book shows both where this profoundly influential thinker archetypally embodies certain Eurocentric traits that have characterized modernity and how, ironically, he himself gives us the tools for working towards a more global vision. Offering a concise introduction not only to an important dimension of Hegel's thought - his orientation towards "empire" - but also to the various issues raised by postcolonial theory and global studies, this book will be of use to philosophers as well as advanced students of literary and cultural theory alike. (shrink)

A series of essays on the evolution of culture, dealing with topics including the city and consciousness, evolution of the afterlife, literary and mathematical archetypes, machine consciousness and the implications of 9/11, and the invasion of Iraq. The enlarged new edition contains extra essays and brings the author's comments on current affairs up to date with coverage of the election of Barak Obama as US President.

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called (...) Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called (...) Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

Scientists have recently discovered a new law of nature. Its footprints are virtually everywhere - in the spread of forest fires, mass extinctions, traffic jams, earthquakes, stock-market fluctuations, the rise and fall of nations, and even trends in fashion, music and art. Wherever we look, the world is modelled on a simple template: like a steep pile of sand, it is poised on the brink of instability, with avalanches - in events, ideas or whatever - following a universal pattern of (...) change. This remarkable discovery heralds what Mark Buchanan calls the new science of 'ubiquity', a science whose secret lies in the stuff of the everyday world. Combining literary flair with scientific rigour, this enthralling book documents the coming revolution by telling the story of the researchers' exploration of the law, their ingenious work and unexpected insights. Mark Buchanan reveals how the principle of ubiquity will help us to manage, control and predict the future. More controversially, he claims that it may well contain the beginnings of a mathematics of cultural and historical change. Every decade sees a major scientific breakthrough that has implications that go way beyond science. 'Ubiquity' is one of them. This book, the world's first on the topic, will change how we think about the world and our place in it. Chaos Disorder from order. Complexity Complexity from simplicity. UBIQUITY World has a natural 'rhythm': there is a mysterious archetypal organisation that works in the world at all levels and which gives rise to a universal pattern of change - in groups of people, things or ideas. (shrink)

The Chinese parallel to the Pali-Kutadantasutta marks one of the major turning points in Old Indian history of ideas: the transition from magic to ethics. In this sermon, the Buddha rejects the Vedic animal sacrifice and re-interprets it according to Buddhist ethics. He preaches sacrifices in a new sense of the word: the sacrifice of giving alms to Buddhist monks, or, even better, of building monasteries, of converting to Buddhism as a Buddhist layman, of obeying the five Buddhist rules for (...) laymen, or - finally and most meritorious - becoming a Buddhist monk. In Beginnings of Buddhist Ethics, Konrad Meisig translates the Buddhist Chinese text for the first time and contrasts it in synopsis with the Pali. The text is given in the original characters along with the Pinyin transcription. The text-critical introduction deals with the variae lectiones both of the Chinese and the Pali; the final analysis focuses on the literary stratification and criticism of forms, thus reconstructing the archetypical nucleus of the Kutadantasutta."--Publisher's description. (shrink)

Part 1: Philosophical inquisitions -- Labyrinthal paradigms: western philosophy in Borges' Oeuvre -- Literary philosophers: Mythos and Logos in Borges and Plato -- Philosophy and ideology: dialectical Orientalism in Borges' writings -- Part 2: Comparative perspectives -- Borges and Schopenhauer: microcosms and aesthetic observation -- Borges, Herclitus, and the River of Time -- A view from eternity: the archetypal quest -- Borges and Levinas face to face: writing and riddle of subjectivity -- Narrative aspect change and alternating systems of (...) justice: A Wittgensteinian reading of Borges -- Borges, Wittgenstein, and Kierkegaard on the boundaries of language: mystical silence and indirect communication -- Borges and Berkeley: idealism and the ontology of the fantastical object. (shrink)

Cardinal Thomas Wolsey, lord chancellor of England from 1515 to 1529, has played no small part in the many literary, historical and dramatic retellings of the reign of King Henry VIII. This article presents the first extended analysis of the way in which Wolsey has been represented by playwrights and, later, film and television writers during the years from his death in 1530 through the present. The article demonstrates that by the middle of the 16th century, two competing narratives (...) about Wolsey had become entrenched historiographically, and nearly all subsequent accounts borrow substantially from the narratives of either Edward Hall or George Cavendish. How successive playwrights and screenwriters balanced the cardinal's two archetypal personae has often depended, in no small part, on the concerns of their own day. In the 21st century, readings of the cardinal as crafty rather than callous, unlucky rather than unprincipled, have become more common, and with them have come more sympathetic portrayals of a traditional Tudor villain. (shrink)

Allegories, rhetoric, imagery, commonplaces, cliches and archetypes are discussed in connection with the literary work of authors such as Montaigne, Shakespeare, Jules Verne, Emile Zola and James Joyce.

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying Roman (...) republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

At the turn of the century an intimate alliance of philosophers, poets and theologians discovered the incarnation of their aspirations for a spiritually transformed world in the symbol of Sophia, the Divine Wisdom of God. Under her various aliases as the Divine Feminine, the Wisdom Clothed in the Sun and the Beautiful Lady, this feminine archetype usurped the traditional role of Christ as the mediator between heaven and earth. She was, however, primarily the inspiration of the Russian philosopher-poet, Vladimir Solov’ev (...) (1853–1900), who created of her the cornerstone for both his metaphysical and aesthetic systems. This spiritual courtship of the Divine Sophia deeply patterned the literary works and interrelationships not only of such prominent symbolist writers as Aleksandr Blok and Andrej Belyj, but brought to light religious eccentrics like Anna Schmidt in a scandalous fashion. Sophia’s influence ranged far beyond the narrower confines of literature and eventually provoked one of the most fascinating debates within the modern émigré Russian Orthodox Church through the offices of Sergej Bulakov, an apparent student of Solovev’s Sophiology. (shrink)

Contemporary Western thought might be somehow characterized by the interaction of theology and humanities, and their refusal to the one-dimension subject. The reason why Slavoj Žižek tries to fight for “the Christian legacy” and “the perverse core of Christianity”— with “structure,” “narrative,” “symbolic order” and other conceptual tools normally used in literary studies—is believed to be a rediscovery of the role of Christianity and theology as the archetype for rendering truth and value system instead of a religious experience merely. (...) And so, the argument of identity and meaning-generation might be rephrased in a different framework. This paper intends to trace Žižek’s works theologically and reinterpret its potentiality in Chinese context. (shrink)

In the course of the twentieth century natural sciences became an integral part not only of the industrial production but also of the semiotics of audio-visual and literary cultures. In the absence of legitimating traditions the techno-scientific models and relations appear to be a readily available habitual source of creative dynamics. Yet this domination contains a paradox. The application of analogy in, for example, visual culture does not work the same way as in mathematics. In the latter when a (...) relation between two points is known it is always possible to assign to a third point its counterpart exactly. In the former it is only the potentiality of the fourth point that analogy can offer. To make the analogy work an onto-poetic step is needed. Repeated applications of such steps detach the model from the original source. The model re-emerges as pata-physics, in its new re-coded art form and territory of application. Models of, for example, atoms, rainbows, meteors, automatons, radiation, entropy, quantum effects, astro-catastrophic singularity, fractals, etc. find their way into literature and arts. This results in new divisions of space and time that in turn determine the shape of archetypal icons through which contemporary meanings are communicated and actualized. (shrink)

The article is an attempt at a philosophical interpretation of the literary text. Its task is to identify the principles of the human self, which are presented in classical literature, in Homer’s “Iliad” and “Odyssey” and Dante’s “Divine Comedy”. The study provides an analysis of the archetypal narrative structure to which the model of human development with three components is applied. The correspondence of the heroes to this typology, which is not the final measure of the human, but resembles (...) the “ideal types” according to Max Weber, has been traced in the research. The dynamics of the development of the inner world of a human being, which corresponds to the plot of the journey, is analyzed. That is not a journey only in physical space, but an inner path too that a person overcomes in a gradual process of self-awareness. It has been found that the works of Homer and Dante can be interpreted as not implying a developed and independent personality. On the other hand, the characters demonstrate the key factors of change that occur within the one who forms the traits of self-sufficiency. The study succeeds in constructing a psychological map that allows outlining not a stable type, but rather different personality horizons. There are certain human aspirations of the man to be the creator of the self. However, such motivations involve not only a number of arbitrary manifestations of human beings but also the establishment of a measure for themselves. Initially, these intentions are carried out without self-absorption, reflection, and self-assessment. After all, unrestrained and unbalanced human temperament for a long time remains subject to higher forces and is significantly limited by this supreme power. Nevertheless, a human eventually comes to the need for self-knowledge and establishes a balance between rational and unconscious manifestations. People succeed in getting out of the circle of self-forgetfulness by overcoming various forms of alienation, loneliness, narcissism, self-contradiction, negligence, arrogance. Self-control is achieved by truth about oneself, overcoming fear, recognizing the effects of temptation and passion. The human attitude to the Other becomes possible due to freedom and love as cardinal manifestations of the active component of the self. (shrink)

I have taken such pains to indicate the scope, terms, and foci of Neumann's analysis because he provides one of the main pillars on which any further systematic study of the woman hero must rest. By showing Psyche's relation to the mythic or archetypal structure of heroism, by demonstrating the particular ways in which the hero is a figure distinguished primarily by involvement in particular patterns of action and psychological development, Neumann provides an invaluable service to further studies of literature, (...) heroism, and women. Without belaboring the distinction between the hero and the heroine, Neumann validates the claim that a woman can be a hero and eliminates the awkward distinction between the heroine as heroic figure and the heroine as conventional woman that has perplexed so much recent literary, especially feminist, analysis.1 He is also very good at locating the details in Psyche's dilemma that constitute significant associative images within a narrative representing heroism by means of a female character. Specifically, he indicates how Psyche's beauty is as much a burden as a boon, shows the importance of her relationship to other female characters, and points out the ways in which the apparent hostility of other women acts as a necessary goad to Psyche's own developing independence. Neumann's analysis is also suggestive in showing the appropriateness of archetypal criticism to material which is not myth in the narrow sense. To be sure, Apuleius' Amor and Psyche results from the distillation of narratives whose origins are clearly to be found in the folklore and functioning mythologies of Greek and Roman culture; just as clearly, however, Apuleius is telling his tale as part of a highly self-conscious, complexly structured narrative2 analogous, in some ways, to Chaucer's Canterbury Tales, Bunyan's Pilgrim's Progress, Milton's great religious epics, and even that seemingly least mythic set of narrative structures, the novel. · 1. See, e.g., Ellen Moers' long discussion of "heroinism" in Literary Women: The Great Writers , pp. 113-242. Moers' use of this awkward term, the female version of the presumably masculine heroism, perpetuates the idea that only men can be true heroes, while extraordinary women remain "special cases" necessitating special terminology.· 2. See P. G. Walsh, The Roman Novel: The 'Satyricon' of Petronius and the 'Metamorphoses' of Apuleius , pp. 141-223. Lee R. Edwards is an editor of The Massachusetts Review and an associate professor of English at the University of Massachusetts at Amherst. She is presently completing The Labors of Psyche: Female Heroism and Fictional Form. (shrink)

I argue that the Nineteenth Century phenomenon of Russian nihilism, rather than belonging to the spiritual crisis that threatened Europe, was an independent and historically specific attitude of the Russian intelligentsia in their wholesale and utopian rejection of the prevailing values of their parents’ generation. Turgenev’s novel, Fathers and Sons, exemplifies this revolt in the literary character Bazarov, who embodies an archetypical account of the conflict between generations, social values, and traditions in Russian—but not just Russian—culture.

In this book, Steve Gronert Ellerhoff explores short stories by Ray Bradbury and Kurt Vonnegut, written between 1943 and 1968, with a post-Jungian approach. Drawing upon archetypal theories of myth from Joseph Campbell, James Hillman and their forbearer C. G. Jung, Ellerhoff demonstrates how short fiction follows archetypal patterns that can illuminate our understanding of the authors, their times, and their culture. In practice, a post-Jungian ‘mythodology’ is shown to yield great insights for the literary criticism of short fiction. (...) Chapters in this volume carefully contextualise and historicize each story, including Bradbury and Vonnegut’s earliest and most imaginatively fantastic works. The archetypal constellations shaping Vonnegut’s early works are shown to be war and fragmentation, while those in Bradbury’s are family and the wholeness of the sun. Analysis is complemented by the explored significance of illustrations that featured alongside the stories in their first publications. By uncovering the ways these popular writers redressed old myths in new tropes—and coined new narrative elements for hopes and fears born of their era—the book reveals a fresh method which can be applied to all imaginative short stories, increasing understanding and critical engagement. Post-Jungian Psychology and the Short Stories of Ray Bradbury and Kurt Vonnegut is an important text for a number of fields, from Jungian and Post-Jungian studies to short story theoriesand American studies to Bradbury and Vonnegut studies. Scholars and students of literature will come away with a renewed appreciation for an archetypal approach to criticism, while the book will also be of great interest to practising depth psychologists seeking to incorporate short stories into therapy. (shrink)

RESUMEN El martiniqués Édouard Glissant ha sido uno de esos autores cuya obra poética, filosófica y literaria ha hecho una trashumancia en los espacios académicos y de los grupos militantes que se autoidentifican como decoloniales. Siendo objeto de relectura critica decoloniales, la categoria de creolización de Glissant se posiciona -al decir de algunos- como un auténtico ejemplo del pensamiento decolonial radical; como un arquetipo de una epistemologia no europea desde el Caribe. A contracorriente con estas ideas, deseo mostrar en qué (...) sentido la categoria de creolización de Glissant, entendida como un fenómeno del pasado y un horizonte del futuro, como un caos que promete un futuro y que es irremediablemente creol, antes de ser una categoria de negación y ruptura total con la filosofia modernidad, ofrece una comprensión renovada de dos categorias del pensamiento moderno: el cosmopolitismo y cosmopolitización. En efecto, el pensamiento de Édouard Glissant dialoga con la modernidad europea y no parece tener como intención una ruptura epistémica definitiva. ABSTRACT Martinican Édouard Glissant has been one of those authors whose poetic and literary work has made a transhumance in academic spaces and militant groups that identify themselves as decolonial. Being the object of a critical rereading of decolonials, the category of creolization is positioned - according to some - as a true example of decolonial thought, as an archetype of a non-European epistemology from the Caribbean. Against these ideas, there is a wish to show, in this paper, in what sense Glissant's category of creolization, understood as a phenomenon of the past and a horizon of the future in the whole world, as a chaos that promises a future and that is irremediably creol, offers a renewed understanding of two categories of modern thought: cosmopolitanism and cosmopolitization. Indeed, Glissant's thought dialogues with European modernity, and it does not seem to intend a definitive or partial epistemic break. (shrink)

"The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sæo Kyæongdæok, an influential Confucian scholar from the early Chosæon period. A native of Songdo in present-day North Korea, Sæo has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called Master Hwadam, Sæo embodied an archetype (...) of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today, Sæo and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosæon. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sæo and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations in the intellectual history of Chosæon and the complex process of the making of Confucian masters in Korea. Sæo's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosæon Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese or East Asian intellectual history"--. (shrink)

This research aims to identify and elaborate on the philosophical issues inherent in the concept of the Profil Pelajar Pancasila (Pancasila Student Profile) as the epitome of human idealism in Pancasila intended for implementation through educational means in Indonesia. This matter holds significance for examination due to the Pancasila Student Profile serving as the ultimate destination or objective of the complete educational system in Indonesia. Philosophical scrutiny of this concept is imperative to ensure alignment between the Pancasila Student Profile and (...) the notion of the Indonesian ideal individual in line with Pancasila’s principles. This investigation adopts a qualitative method to delve into philosophical quandaries within this domain. The data utilized in this research comprises literary works addressing the Pancasila Student Profile, which are then philosophically scrutinized based on four key attributes: radical, critical, systematic, and comprehensive. The findings of this study reveal a philosophical dilemma within the Pancasila Student concept, specifically the underrepresentation of two vital dimensions of human nature in Pancasila, namely materiality and individuality. Consequently, it is recommended that a reassessment and restructuring of the Pancasila Student Profile concept be undertaken to ensure the realization of the ideal human archetype of Pancasila without straying from the educational objectives outlined in Law No. 20 of 2003 regarding the National Education System. (shrink)

Jakobson introduced the concept of intersemioticity as transmutation of verbal signs by nonverbal sign systems (1959). Intersemioticity generates the linguistic-and-cultural elements of intersemiosis (from without), crystallizing mythology and archetypal symbolism, and intertextuality (from within), analyzing the human emotions in the cultural situation of language-and-music aspects. The operatic example of Ibsen’s Peer Gynt (1867) intertextualized the cultural trends of Scandinavia. This literary script was set to music by Grieg to make an operatic expression. After the “picaresque” adventures, Peer Gynt ends (...) in a “romantic” revelation. Grieg’s music reworded and rephrased the script in musical verse and rhythm, following the intertextuality of Nordic folk music and Wagner’s fashionable operas. Ibsen’s Peer Gynt text has since been translated in Jakobson’s “translation proper” to other languages. After 150 years, the vocal translation of the operatic text needs the “intersemiotic translation or transmutation” to modernize the translated text and attract present-day audiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lotus Sutra as Good News: A Christian Reading 1Paul J. GriffithsChristian Reading of Non-Christian WorksFor Christians, the good news (the gospel) is, first and most fundamentally, a set of events: God’s loving creation of all things; his calling, or election, of a particular people to bear a covenanted relation with him; his incarnation, death, and resurrection; and the salvation of humanity wrought thereby. I’ll call this the fundamental (...) good news. Second, and derivatively, the good news is any witness to these events, any reflection or description or commendation of them in words or actions. Not all such witnesses are equally comprehensive and explicit. Some may present only a part of the fundamental good news: God’s love, say, or some truths about the human condition that comport well with or are required by the fundamental good news. And such parts may be presented directly and explicitly; or largely implicitly, veiled by allusion and metaphor; or even entirely implicitly, present only in what is not said. I’ll call all such witnesses, no matter the degree of their comprehensiveness and explicitness, examples of derivative good news.For us Christians, the Bible is the paradigm or archetype of derivative good news. There, for us, is found the supremely authoritative literary record of God’s acts for us and our responses to them. And in that literary record are the four gospels, which are also instances of derivative good news, but which bear the title ‘gospel’ or ‘good news’ (evangelism) and are derivative good news in an even more special sense than is the Bible as a whole. This is because they contain an explicit record of the life, death, and resurrection of Jesus of Nazareth, whose presence in the world was, is, and will be the pivotal event in God’s relations with human beings. The Bible as a whole is, for Christians, a work whose central topics are God’s acts and God’s relations to us, and it is uniquely authoritative on those topics. It is not itself the fundamental good news, nor the only witness to or literary presentation of the fundamental good news, nor a fully comprehensive and explicit witness to the fundamental good news; but it is uniquely authoritative for Christians as a witness and presentation to this fundamental good news. Christian understandings of the fundamental good news are therefore always formed in conversation with it, and are self-consciously constrained by what it says. It frames and constrains all other Christian instances of derivative good news, but is not itself framed or constrained [End Page 3] by them: this is its syntactic function in the formation of a properly Christian account of things.This, obviously, is a specifically Christian view of what the good news is, of what the phrase ‘good news/gospel’ means. The claims made in the preceding paragraph are part of the grammar of Christian faith, enshrined in doctrine, liturgy, and practice. The gospel book may be lifted and kissed before being read to the community of the faithful; the sign of the cross may be made on forehead, lips, and heart before the gospel’s words are read, to signify the purification of understanding, speech, and emotion required before the words of the good news can be heard, and to prepare for the sanctification of the person that is ideally consequent upon their hearing. Thinking and doing such things is part of what it means to be Christian, much as bowing upon meeting is part of what it means to be Japanese. I am a Christian, so this view of the good news is mine. It is the place from which I begin in thinking about the good news. To pretend otherwise would be disingenuous, or worse.But this Christian view of what the good news is does not entail, nor even suggest, that derivative good news is found nowhere but in the Bible. The claim that God is related lovingly to all human persons is part of the grammar of Christian faith: the state of affairs it describes is part of the fundamental good news. It suggests that evidences of God’s love ought... (shrink)

La obra del chileno Roberto Bolaño ha sido objeto de números estudios que la abordan desde diferentes enfoques en la última década. Este artículo que se integra a la tesis doctoral Bolaño ou la réécriture du mythe de l’écrivain maudit propone una aproximación a los personajes que por su ocurrencia reiterada constituyen el núcleo narrativo de su obra. Se trata en esencia de caracterizar la imagen de varios personajes; tomamos el caso de Archimboldi en 2666, de varios personajes de Estrella (...) distante y de Ulises Lima en Los detectives salvajes. Para ello introducimos el concepto de imagen y analizamos los fenómenos recurrentes a los que la imagen de los personajes se confronta en los textos. Finalizamos caracterizando las imágenes de los personajes de acuerdo con la clasificación de Wunenburger en L’imagination, imagen duplicación, imagen ficción, imagen símbolo e imagen arquetipo. Au cours de la dernière décennie, l’œuvre de l’écrivain chilien Roberto Bolaño a été abordée sous différents angles. Cet article, qui s’intègre à la thèse doctorale Bolaño ou la réécriture du mythe de l’écrivain maudit, se propose d’étudier les personnages qui apparaissent de manière réitérative et qui peuvent constituer le noyau narratif de son œuvre. Il s’agit essentiellement de caractériser l’image de quelques personnages présents dans trois romans de Bolaño. On étudiera le personnage d’Archimboldi dans 2666, quelques personnages de Estrella distante et celui d’Ulises Lima dans Los detectives salvajes. Le concept d’image sera introduit et on analysera les phénomènes récurrents auxquels les images sont confrontées au sein des textes. On finira par caractériser l’image des personnages étudiés d’après la classification de Wunenburger dans L’imagination, à savoir : image duplication, image fiction, image symbole, image archétype. Bolaño’s literary texts have been studied from different points of view in the last ten years. This article is included in the doctoral thesis Bolaño ou la réécriture du mythe de l’écrivain maudit and proposes an approach to the kind of characters that due to their systematic presence in the texts are the center of the narrative structure. We intend to characterize the image of some characters. We take the case of Archimboldi in 2666, the one of some characters in Estrella distante, and the one of Ulises Lima in Los detectives salvajes. In order to do that, we introduce the concept of image and we analyze the current phenomena to which the texts are confronted to. We finalize giving some features of the characters’ images according to Wunenburger in L’imagination, classification: image of duplication, image of fiction, image of symbol and image archetype. (shrink)

Alexander Nehamas and others have recently attempted to revive a conception of ethics that is centered on self-formation and the values of aesthetic coherence. This conception faces several difficulties, including the lack of fit between models of aesthetic coherence in literary works and individual lives and an absence of determinate content. The argument of this paper is that both of these defects are absent from the work of one of the earliest and most vocal exponents of this conception of (...) ethics, Friedrich von Hardenberg (1772–1801), better known by his pseudonym “Novalis”. The paper begins by reviewing the growing consensus among scholars that Novalis makes a serious contribution to philosophy, and by pointing out the lack of attention paid to his moral philosophy. His conception of moral life as an infinite process of approximation the archetypal unity of the divine is then explicated in detail. Particular attention is paid to the manner in which his model of moral life and conception of aesthetic coherence avoids some of the difficulties faced by more recent theorists. (shrink)

Bachelard’s works on imagination have been used primarily by literary critics interested in the archetypal imagery of writers. His treatment of the imagination of matter has led to a method of classifying poets according to their favorite substances, based on a view of Bachelard as a “psychoanalyst” of the elements. But the phenomena of imagination, the images themselves, are not his fundamental concern. Bachelard’s physics and chemistry of imagination also imply a metaphysics. Definition of the contents and function of (...) imagination illustrating a philosophy of imagination in itself is the purpose of the present essay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elizabeth Hanson-Smith AUGUSTINE'S CONFESSIONS: THE CONCRETE REFERENT The chief problem facing critics who would consider the Confessions as both a literary work and a philosophical treatise remains the connection between the first nine books, the autobiography, and the last four, the metaphysical speculations on time, eternity, epistemology, and theology. A persistent desire to justify the work as an aesthetic whole has led critics on a search for thematic (...) and structural unity; they have been more successful in the former endeavor than in the latter. The interpretation of the work's plot as a peregrinatio animae, a pilgrimage of the soul, is now generally accepted as definitive; but attempts to find structural unity within that broad outline have not progressed beyond Marrou's characterization of the work as a "musical composition."1 His analogy to music has not been anchored to any concrete structural features of the Confessions and does not illuminate the connections between its content and its form. I shall attempt to prove that a unified structural model for the development of the soul in the Confessions does indeed exist and is outlined in Augustine's earlier discursive work, the De quantitate animae.2 The seven degrees or steps (gradus) of the soul's ascent to God, as sketched in the De quantitate, are deliberately fleshed out and translated into a mimetic, narrative version in the Confessions. Placing the two works side by side gives us a unique opportunity to examine a typically medieval literary form, the educative journey, in its relationship to its philosophical premises. Such a study reveals the inner formal unity of the literary work and, further, provides us with significant evidence for a re-examination of Augustine's Neo-Platonism, his supposed dualism, and his influence on later works, both literary and philosophical. In the Confessions we see one of the earliest Christian blendings of several models: first, the educative journey, the archetypal pattern familiar from the Odyssey, the Aeneid, and even The Golden Ass of Apuleius. Augustine's version, like later medieval cosmologies, also 176 Elizabeth Hanson-Smith1 77 includes a vision of the cosmic order and its relationship to human order, elements of significance in pagan philosophical works such as the Timaeus and the Dream of Scipio. But Augustine's journey also depends upon the Judeo-Christian conception of history as a series of figurae or types of the Messiah: the protagonist of the Christian educative journey joins thefigurae of the Biblical past. Christ's incarnation as Mansoul and his life on earth are the pattern of universal history from Fall to Apocalypse; Christ's life becomes a figurative pattern for the actions of Everyman.3 The Confessions is one of the earliest Christian works to apply this pattern in a narrative context. Augustine was also preoccupied with the Hexaemeron, the six days of creation and the seventh of rest. He views the exegesis of Genesis as an explanation of all subsequent life; the Ages of Man recapitulate the days of creation, as do the sacraments and the seven steps in the ascent of the soul. Thus, to the figurative pattern of Christ's "pilgrimage" from creating Logos to Incarnate God and finally to judge at the Second Coming, Augustine applies the schematic seven-fold ascent found in the De quantitate: the soul passes through the ascending steps of animation, sense, art, religion, tranquillity, initiation, and contemplation—each of which is figured by or patterned on a stage in Christ's life, as represented by the sacraments, and each of which, further, reflects a segment of universal history. The seven steps are not simply the movement of the individual soul, but the progress of Mansoul on its journey to Apocalypse. The stylistic differences between the two works—one an exposition written as Socratic dialogue, the other a metaphorical personal narrative —will no doubt give rise to differing interpretations; but one may, I think, object to certain details I suggest while still agreeing that the De quantitate provides the structuring model. Let me first define the major areas of difference between the two works. In the De quantitate, each of the levels or steps of the soul takes on a discrete, separate... (shrink)