Structure and Symbol in Manzoni's IPromessi Sposi

PMLA ◽  
1972 ◽  
Vol 87 (3) ◽  
pp. 499-507
Author(s):  
Jean-Pierre Barricelli

Manzoni structured his novel like a tapestry with juxtaposing planes or masses symbolizing good and evil and the redemptive tragedy that inevitably ensues when these forces meet. Thus a symmetrical expressive structure is simultaneously a moral structure. The tapestry is further crosswoven with images that interrelate and deepen the meaning of the context in which they appear or of the character with whom they are associated. They become word-symbols: words like “wall” or “skull” set tonalities, and so does “bread” as opposed to “wine” or “devil.” Similarly, descriptions involving images of light or the sun weave a dialectical fabric with images of darkness or clouds. While on the one hand the symbols exteriorize situations and events, on the other they are interiorized into the narrative and its characters so as to become their very lifeblood. What has been called Manzoni's “lyricization” of reality stems directly from this process.

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.


1987 ◽  
Vol 115 ◽  
pp. 239-253 ◽  
Author(s):  
L.F. Rodríguez

We review the observational evidence for interstellar and circumstellar size gaseous structures that appear to be collimating the bipolar outflows observed in regions of star formation. In particular, there is growing evidence for circumstellar disk-like objects that may be related to a protoplanetary cloud like the one that once surrounded the Sun. There are similarities between these disks around young stars and that found around the main sequence star β Pictoris. Both flattened structures around L1551 IRS5 and β Pictoris appear to have an inner “hole” with radius of a few tens of AU. On the other hand, there is observational support for focusing and collimation processes acting on the same source from tens of AU (circumstellar dimensions) to tenths of pc (interstellar dimensions).


Author(s):  
Nathan Widder

This chapter examines Friedrich Nietzsche's political philosophy, first by focusing on his claim that the ‘death of God’ inaugurates modern nihilism. It then explains Nietzsche's significance for political theory by situating him, on the one hand, against the Platonist and Christian traditions that dominate political philosophy and, on the other hand, with contemporary attempts to develop a new political theory of difference. The chapter also considers Nietzsche's genealogical method and proceeds by analysing the three essays of On the Genealogy of Morals, along with his views on good and bad, good and evil, slave morality, the ascetic ideal, and the nihilism of modern secularism. Finally, it reviews contemporary interpretations of Nietzsche's relation and relevance to political theory and how his philosophy has inspired a broader set of trends that has come to be known as ‘the ontological turn in political theory’.


Philosophy ◽  
1953 ◽  
Vol 28 (106) ◽  
pp. 239-245
Author(s):  
R. K. Harrison
Keyword(s):  
The Many ◽  
The One ◽  

The many comments on good and evil found in the writings of A. N. Whitehead are exhibited in his mind against the two categories of positive and negative value. His concern in value-considerations is with the “trinity” of truth, beauty and goodness on the one hand, and with falsehood, ugliness and evil on the other. For him, “value” is a word employed for “the intrinsic reality of an event” and very frequently in his treatment of the value-theme he uses the term “importance” as having equivalence to “value.”


Africa ◽  
1969 ◽  
Vol 39 (1) ◽  
pp. 24-53 ◽  
Author(s):  
Eric Ten Raa

Opening ParagraphThe Sandawe of central Tanzania speak a click language which shows no relationship with the languages of their Bantu-speaking neighbours, nor with any of the other non-Bantu languages in the neighbourhood; rather, it may be remotely related to the Khoisan languages of South Africa, in particular to Nama Hottentot. Physically the Sandawe differ to a degree from their neighbours, and their closest affinities may again be with Hottentot peoples. Sandawe material culture also differs to a degree from the cultures of their neighbours; like them, the Sandawe have an economy which largely depends on cattle-keeping and horticulture, but it is less sophisticated and their reliance on food-gathering and hunting is still considerably greater. Considering this difference in background it would be not at all surprising if their system of beliefs also showed differences. Comparisons cannot yet be profitably made, however, because little has so far been published about Sandawe religion, except a paper by van de Kimmenade and some details which can be found in the writings of Dempwolff and Bagshawe. In his ethnographic survey Huntingford draws our attention to the lack of knowledge of Sandawe religious beliefs, pointing out that these have been imperfectly recorded; yet he recognizes that the moon (láb′so or !áoso) and the sun (//′akásu) occupy a central position in Sandawe religion, which he summarizes as follows:It appears that the sun and the moon are regarded as supreme beings, and that propitiatory sacrifices are made to the ancestral spirits who can do both good and evil to mankind.


Etyka ◽  
1974 ◽  
Vol 13 ◽  
pp. 127-132
Author(s):  
Leonid Archangielski

In Soviet ethical literature, the study of the language of morals is denoted as “the study of ethical categories”. These categories include the concepts of good and evil, duty, conscience, dignity, happiness and meaning of life. The set of categories is open but these traditional categories will always constitute the core of the system of ethical concepts. Remarkable difficulties in interpreting the nature of ethical categories result from the fact that they develop on the borderland between two forms of social consciousness – morality and ethics conceived of as the science of morals. Thus, on the one hand, they are scientific notions, but, on the other, they retain the specific qualities of morality: prescriptivity, evaluativeness and evocativeness. While professing his allegiance to the programme of Marxist ethics as a science intended to develop a system of ethical categories the author points out the danger of overrating the role of the economic factor as this may lead to misapprehending the specific qualities of ethics.


2018 ◽  
Vol 10 (2) ◽  
pp. 285-305
Author(s):  
George A. Gazis

Abstract This article identifies the influence of the Homeric ‘Poetics of Hades’ in Greek Lyric and argues for an aetiological relationship between the persistent presentation of the lyric poet’s subjective voice and the freedom of speech introduced in Homer’s Underworld. The article demonstrates this relationship through an examination of Bacchylides’ Ode 5 and argues that the lyric poet consciously innovates upon Homer’s underworld narratives by allowing his Meleager to occupy the stage and takes the audience through his agonising last minutes by describing what dying feels like in his own voice. In doing so, Bacchylides presents his audeience with a Meleager who glosses over his heroic actions and moments of glory in favour for a more emotional and subjective view of his past, filled with regret and self-pity. In this respect the hero is no different from the ghost of Achilles who dismisses honour after death for the simple privilege of seeing the light of the sun, or Agamemnon who is consumed by the memory of his wife’s treachery while having nothing to say about his glorious exploits at Troy. This powerful retelling of the story of a great epic hero of the past looks, I argue, simultaneously backwards and forwards, since on the one hand it is inherited from Homer’s ‘Poetics of Hades’, while on the other, it anticipates the emotional and unmediated voices of the heroes and heroines of the tragic stage.


1968 ◽  
Vol 88 ◽  
pp. 114-127 ◽  
Author(s):  
D. O'Brien

In a study earlier in this volume, ‘The Relation of Anaxagoras and Empedocles’, pp. 93–113, I listed the ancient evidence to the effect that Anaxagoras first gave the correct explanation of an eclipse, and that he was followed in this by Empedocles. A more extensive examination of the evidence raises certain difficulties. For what are, or might appear to be, Anaxagoras' theories are attributed elsewhere to earlier thinkers.There are two principal elements in this contradiction, the one direct and the other indirect.1. There is a direct contradiction when Thales, Anaximenes and some Pythagoreans are said to have given the correct explanation of an eclipse, at least if we suppose the Pythagoreans in question to have been earlier than Anaxagoras.2. There has been thought to be an indirect contradiction when several thinkers before Anaxagoras are said to have derived the moon's light from the sun. For a theory of derived light for the moon has been thought, whether rightly or wrongly, to entail the correct explanation of an eclipse.In what follows I shall attempt to solve these, and some other incidental difficulties.


2017 ◽  
Vol 7 (2) ◽  
pp. 238
Author(s):  
Shadi Saleh Neimneh

This article looks into the postcolonial Arabic narrative of Ghassan Kanafani to examine its underplayed existential and naturalistic aspects. Postcolonial texts (and their exegeses) deal with the effects of colonization/imperialism. They are expected to be political and are judged accordingly. Drawing on Kanafani’s Men in the Sun (1963), I argue that the intersection among existentialism and naturalism, on the one hand, and postcolonialism, on the other, intensifies the political relevance of the latter theory and better establishes the politically committed nature of Kanafani’s fiction of resistance. In the novella, the sun and the desert are a pivotal existential symbol juxtaposed against the despicable life led by three Palestinian refugees. The gruesome death we encounter testifies to the absurdity of life after attempts at self-definition through making choices. The gritty existence characteristic of Kanafani's work makes his representation of the lives of alienated characters more accurate and more visceral. Kanafani uses philosophical and sociological theories to augment the political nature of his protest fiction, one acting within postcolonial parameters of dispossession to object to different forms of imperialism and diaspora. Therefore, this article explores how global critical frameworks (naturalism and existentialism) enrich the localized contexts essential to any study of postcolonial literature and equally move the traditional national allegory of Kanafani to a more realist/unidealistic level of political indictment against oppression. 


2017 ◽  
Vol 3 (1) ◽  
pp. 146
Author(s):  
Dror Pimentel

Most rare are those works of art that, in a simple visual gesture, succeed in formulating a dilemma that occupies culture as a whole. Such is the artwork of Joseph Beuys entitled Fat Chair. The work�viewed mainly from a phenomenological perspective�is comprised of two elements holding a tension: a chair on the one hand, and a lump of fat placed on top of it on the other. The tension between these elements, so the article argues, manifests the tension between two types of violence: following Benjamin, these are termed �the violence of the Father� and �the violence of the Other� (or in Hebrew, �the Violence of ha-Rav�). The violence of the Father refers mainly to the violence of culture: the violence of the concept and the category from the side of the object, and the violence of the law/name of the Father from the side of the subject. The violence of the Other, transgressing distinctions between good and evil and subject and object, is the violence of the pre-cultural and the primordial, before law and language. This primal violence cannot appear in its full presence, either in culture in general or in art in particular; it can only appear as a leftover and a spectre. Beuys' artwork manifests this aporetic appearance in a paradigmatic manner, and in this sense, it could serve as a paradigm for the possibility of hospitality in art. In fact, the article opens the way for an argument of a larger scale, according to which art, and not the social sphere�as Levinas maintains�should be viewed as the sphere of the� hospitality of the entirely Other. The study of such hospitality in art should therefore be termed �Aesth-ethics.�


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