scholarly journals De los espejos, el fénix y la mujer seráfica: imágenes platónicas del alma en las obras de Marguerite Porete, Hadewijch van Brabant y Mechthild von Magdeburg

2020 ◽  
pp. 11-26
Author(s):  
Pablo Acosta-García ◽  

The main focus of this essay is the study of the image of the mirror in the works of religious women from the 13th and 14th centuries (Mechthild von Magdeburg, Hadewijch van Brabant and Marguerite Porete), especially regarding the Platonic tradition which links this image with the soul. I will examine fragments of their literary work in order to discuss some physiological, anthropological and theological preconceptions implied in the use of the mirror-image, especially those developments concerning self-knowledge and deification (theosis). Additionally, I analyze the relationships between the mirror and the “mystique courtoise,” particularly with the theme of the Fountain of Narcissus

2010 ◽  
Vol 103 (1) ◽  
pp. 89-109 ◽  
Author(s):  
Juan Marin

In 1309 ecclesiastical leaders condemned as heresy Marguerite Porete's rejection of moral duty, her doctrine that “the annihilated soul is freed from the virtues.”1 They also condemned her book, the Mirror of Simple Souls, which includes doctrines associated decades earlier with a “new spirit” heresy spreading “blasphemies” such as that “a person can become God” because “a soul united to God is made divine.”2 In his study, The Heresy of the Free Spirit, Robert E. Lerner identifies these two doctrines of annihilation and deification as characteristic of the “free spirit” heresy condemned at the 1311 Council of Vienne. The council claimed that this heresy's sympathizers belonged to an “abominable sect of certain evil men known as beghards and some faithless women called beguines.”3 Lerner found that this group was composed of a disproportionate number of women, including Marguerite Porete. Many of the men were also involved with the group of pious laywomen known as beguines.4 Lerner shows that among those charged with heresy, many sympathized with a “ ‘free-spirit style’ of affective mysticism particularly congenial to thirteenth century religious women.”5 He suggests that beguines in particular radicalized affective spirituality into what he calls an “extreme mysticism.”6 Here I wish to follow Lerner's suggestion that we ought to search for the roots of Porete's doctrines among the beguines. I will argue that distinctive doctrines of annihilation and deification sprouted from a fertile beguine imagination, one that nourished Porete's own distinctive and influential ideas in the Mirror of Simple Souls.7 It is among the beguines that we find the first instance in Christianity of a women's community creating an original form of theological discourse.


2015 ◽  
Vol 10 (17) ◽  
pp. 62-78
Author(s):  
Maria José Caldeira Do Amaral

ResumoNeste artigo vamos desenvolver “um diálogo” entre espírito, mística e liberdade com base nos conceitos de Nicolas Berdiaev e nos relatos de Mechthild von Magdeburg e Marguerite Porete. O objetivo essencial é uma aproximação do sentido da mística da liberdade constituído no pensamento filosófico de Berdiaev e a expressão na mística feminina medieval cristã, na tentativa de apontar para o caráter supra confessional da experiência mística. A articulação das concepções filosóficas de Berdiaev e a hermenêutica de relatos das experiências de Deus nos quais a alma experimenta a verdadeira liberdade, na linguagem de Mechthild e, torna-se nada, na linguagem de Marguerite, sustentam os limiares de sentidos da espiritualidade humana e seus desdobramentos na perspectiva da experiência cristã. A consideração principal, nesse diálogo, é sustentar a dinâmica espiritual do conceito de liberdade a partir de alguns fragmentos da vida e obra dessas mulheres místicas medievais em consonância com o teor dos argumentos de Berdiaev, que desconstrói, assim como elas, o dualismo ontológico entre a alma humana e Deus, postulado pela teologia tradicional. Palavras Chave: Nicolas Berdiaev. Mechthild von Magdeburg. Marguerite Porete. Lliberdade. Mística. AbstractIn this article we will be developing a dialogue between spirit, mystic and freedom in Nicolas Berdiav, Mechthild von Magdeburg and MargueritePorete concepts.The essential intent is  suggest an approach dealing with the sense of the mystic freedom within Berdiaev’s philosophical thought and the expression of Medieval Christian Female Mystic in an attempt to point these concepts far removed from an exclusively  confessional character of mystic experience. The Berdiaev’s philosophical conception and the account of the hermeneutics of the experience of God that the soul experiences through the genuine freedom in  Mechthild’s language and where the same soul becomes nothing for Marguerite’s language, both support the course’s entrances of the human spirituality meanings and the its signification coming from a Christian perspective. The prime reason to consider this dialogue is to investigate the concept of freedom present in spiritual dynamic, from these medieval women’s life and their literary production, that agree with Berdiaev’s attempt to distance herself from onthological dualism between the human soul and God, postulated by traditional theology. Keywords: Nicolas Berdiaev. Mechthild von Magdeburg. Marguerite Porete. Freedom. Mystic.


Traditio ◽  
2018 ◽  
Vol 73 ◽  
pp. 179-211
Author(s):  
ANITA MIR

That women felt and men thought has long been the predominant lens through which medieval Christian writing has been analyzed. The work of the religious women vernacular theologians, or Beguines, who emerged across North Europe from the twelfth to the thirteenth centuries has therefore often been dismissed as affective mysticism. Recent scholarship has begun to re-appraise this work and re-evaluate its place within the Christian tradition. This paper looks at the work of Hadewijch, a thirteenth-century mystical poet from Brabant in the Netherlands who, though less well known than other Beguines such as Hildegaard of Bingen and Marguerite Porete, may, as John Arblaster and Paul Verdeyen argue, “rightly be called the greatest poetic genius in the Dutch language.” It is probable that her work was not widely known during her lifetime (not, that is, directly), but research is strengthening the argument that her theology was transmitted via the works of John of Ruusbroec. This paper will attend both to Hadewijch's poesy and her theology and ask what the dynamic structure in her verse — its shifts of perspective, gender perspective, and non-linear narrative — might lead us to grasp about her theology.


Author(s):  
Elena Pats’orka

Введение. Феноменологический дискурс в литературоведении связан с методологической установкой на восприятие литературного произведения как феномена авторской действительности и события в восприятии читателя. За счет такой диалогической двуориентированности литературный текст перестает осмысляться как замкнутый объект, выходя на уровень экзистенциальной коммуникации автора и читателя с основой на ценностную событийность. Что позволяет говорить о возможности раскрытия воспринимающего сознания через диалогический поиск своего и чужого слова. Материал и методы. В исследовании используются аналитико-описательный, аксиологический методы и феноменологический подход. В качестве материала для исследования выступают глава «Дневника писателя» Ф. М. Достоевского «Одна из современных фальшей» (1873), эго-документы: записные книжки 1863–1864 гг., письма к А. Г. Ковнеру (1877), Н. П. Петерсону (1878) и Е. Ф. Юнге (1880). Результаты и обсуждение. В рамках аксиологического анализа текста в качестве ресурса была выделена категория «позиция автора» как «эстетический коэффициент» вектора ценностной ориентации литературного произведения. «Позиция автора» осмысляется через диалогическое начало, выведенное М. М. Бахтиным как первоопределяющее в полифоническом строе произведений Ф. М. Достоевского. Диалог у писателя понятие всеохватное, не имеющее ни временных, ни пространственных границ. Это нашло непосредственное отражение в идее, жанре и композиции «Дневника писателя». Другодоменантность, основанная на сопряжении сознаний Я и Другого, характеризуется позиционно-ценностной вариативностью. Экзистенциальное сознание писателя проявляется в слове, имеющем диалогическую ориентацию. Диалог является атрибутивной характеристикой экзистенциального сознания. Личностное Я проявляет себя как объект и субъект через ситуацию анализа процесса самопознания. Заключение. Процесс открытия читателем не просто духовно-нравственных основ личности автора, но самой ситуации их формирования является важным в ситуации ценностной ориентации молодого поколения. Через диалог с сознанием воспринимающего субъекта Достоевский открывает для читателя путь к обретению своего Я (как Я-автора, так и Я-читателя).Introduction. Phenomenological discourse in literature is connected with methodological orientation on perception of literary work as a phenomenon of author’s reality and event in reader perception. Due to such dialogue biorientation, the literary text ceases to be understood as a closed object, reaching the level of existential communication between the author and the reader with the basis for value event. Which makes it possible to talk about the possibility of revealing the perceiving consciousness through a dialog search for one’s word and another’s word. Materials and methods. The study uses analytical, descriptive, axiological methods and a phenomenological approach. The material for the study is the chapter of “A Writer’s Dairy” by F. M. Dostoevsky “One of the Modern Fales” (1873), ego-documents: notebooks 1863–1864, letters to A. G. Kovner (1877), N. P. Peterson (1878) and E. F. Yunge (1880). Results and discussion. As part of the axiological analysis of the text, the category “author’s position” was identified as an “aesthetic coefficient” of the value orientation vector of the literary work. The “position of the author” is understood through the dialogical principle, drawn by M. M. Bakhtin as the first definition in the polyphonic structure of the works of F. M. Dostoevsky. The dialogue of the writer is an all-encompassing concept, with neither temporary nor simple borders. This was directly reflected in the idea, genre and composition of “A Writer’s Diary”. Other modality, based on the conjugation of the Self and the Other consciousness, is characterized by position-value variability. The existential consciousness of the writer manifests itself in a word having a dialogue orientation. Dialogue is an attributive characteristic of existential consciousness. Personal Self shows itself as an object and subject through the situation of analysis of the process of self-knowledge. Conclusion. The process of the reader discovering not just the spiritual and moral foundations of the author’s personality, but the very situation of their formation is important in the situation of the value orientation of the young generation. Through the dialogue with the consciousness of the perceiving subject, Dostoevsky opens the way for the reader to acquire his Self (both I-author and I-reader).


2020 ◽  
Vol 74 (4) ◽  
pp. 318-323
Author(s):  
Zh. Seisenbayeva ◽  

In the scientific article, the role of artistic means and methods in describing the realities of time in Bakkozha Mukai's novel "Umirzaya" will be discussed. An analysis of the artistic formulation of the depicted characters was carried out, emphasizing the main function of figurative techniques on the way to the transformation of the reality of life in the novel into an artistic reality, paying special attention to the maximum disclosure of human reality. The purpose of the article is to reveal the deep philosophical meaning of the works, thoughts and images, moral intelligence, and expressive reality of the works of Kazakh artistic prose, which reveal their identity and uniqueness. The value of the writer's works is also probably due to the accuracy of the description. Having a deep understanding of the self-knowledge of literature, the writer made every effort to fit all his dignity into a work of art. Therefore, without distorting historical reality, the work was decorated with a convincing description of the oikyrgan. As for the literary theoretical orientation, the writer created a new character in this work that corresponds to the realities of the nation. B. Mukai is a writer who used artistic techniques in his works, created National characters, and became famous for his original ideological works. While the phenomena of life depicted in the work are the subject of this work, the idea of a literary work is the unity of unity in its content.


Author(s):  
Yu.N. Sergo

The article analyzes the motives of travel and escape, which are pretty common in modern women prose and appears closely related to each other. The connection between travel and self-knowledge is also obvious. In female prose, it is presented through the motive of physicality. In the works of modern writers, these motives work differently: in the texts of the Polish writer Olga Tokarchuk, travel and escape function as motives that define the world and the human body in their mirror image, which creates the illusion of the absence of borders between the external and internal worlds. In the work of Lyudmila Ulitskaya, such a function is endowed with only a flight motive, which manifests itself in the image of the inner world of heroes. The autobiographical work of Lyudmila Petrushevskaya demonstrates a strategy in which travel and escape are associated with the idea of creative search and creative independence. The analysis of the sustainable motives of female prose allows us to conclude that the writers have their special view on the problem of self-knowledge.


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