scholarly journals Leonor Fini, maga del trasformismo

2018 ◽  
pp. 201
Author(s):  
Alessandra Scappini
Keyword(s):  
Female Figures ◽  
The Fantastic ◽  
Alter Ego

<p><strong>Riassunto</strong> Leonor Fini (Trieste, 1987 - Parigi, 1996) è una pittrice e scrittrice singolare che lavora nel tempo delle avanguardie storiche avvicinandosi all’<em>entourage</em> del surrealismo a Parigi. Il senso del meraviglioso e l’onnipotenza del desiderio che emergono dalle sue storie e dalle sue opere pittoriche sono aspetti comuni all’avanguardia, anche se non ha mai aderito al movimento. Le figure femminili, gli animali totemici e gli ibridi dipinti o descritti sono simbolici e riflettono il suo gusto per il metamorfismo proprio di una personalità e di un <em>alter ego</em> prossimi all’universo fantastico.</p><p><strong>Abstract</strong> Leonor Fini (Trieste, 1987 - Paris, 1996) is a singular woman painter and writer who works in the period of historical avant-gardes approaching the <em>entourage </em>of surrealism in Paris. The sense of the marvelous and the omnipotence of desire that emerge from her stories and her pictorial works are common aspects in the vanguard, even if she has never joined the movement. The female figures, totemic animals and hybrids painted or described are symbolic and reflect her taste for the metamorphism of a personality and an <em>alter ego</em> close to the fantastic universe.</p><p><strong>Keywords  </strong>Leonor Fini, surrealism, desire, marvelous, fantastic.</p>

scholarly journals MANIFESTAÇÕES DO DUPLO EM “PALHAÇO DA BOCA VERDE”

2008 ◽  
Author(s):  
Adilson dos Santos
Keyword(s):  
Key Words ◽  
Short Story ◽  
The Other ◽  
Complex Situation ◽  
Joao Guimaraes Rosa ◽  
Female Figures ◽  
Alter Ego ◽  
Love Triangle

RESUMO: O presente trabalho objetiva apresentar uma leitura de “Palhaço da boca verde”, do livro Tutaméia (Terceiras Estórias), sob a perspectiva do duplo. São três os artistas que fazem parte do enredo, compondo a complexa situação de um triângulo amoroso: Mema Verguedo, X. Ruysconcellos e Ona Pomona. Tais personagens – cada qual à sua maneira – são seres cindidos. No que se refere à X. Ruysconcellos, sob a pele do palhaço Ritripas, este procura fugir da realidade. No que diz respeito às figuras femininas, uma atua como o alter ego da outra. Embora X. Ruysconcellos demonstre inicial interesse por Ona Pomona, ao final da narrativa, ele descobre ser Mema Verguedo a sua metade faltante. Neste momento, cada um dos amantes reencontra a sua própria androginia. ABSTRACT: This essay analyses the short story “Palhaço da boca verde”, presented in the book Tutaméia (Terceiras Estórias), under the perspective of the double. Mema Verguedo, X. Ruysconcellos and Ona Pomona are the three artists who take part in the plot, composing a complex situation of a love triangle. These characters – each one in a different way – are divided beings. Regarding X. Ruysconcellos, by playing the role of the clown Ritripas, he tries to escape from reality. With reference to the female figures, one acts as the alter ego of the other. Although X. Ruysconcellos shows initial interest to Ona Pomona, at the end of the narrative, he discovers that Mema Verguedo is his missing half. In this moment, both lovers meet again their own androgyny. KEY-WORDS: João Guimarães Rosa – Short story – Double

Review of Ernest Jones: Freud's Alter Ego.

1983 ◽  
Vol 28 (10) ◽  
pp. 806-806
Author(s):  
No authorship indicated
Keyword(s):  
Alter Ego ◽  
Ernest Jones

Aesthetic Dilemmas of Adaptation and the Politics of Subjectivity: Animating the Chinese ClassicJourney to the West

2019 ◽  
Vol 12 (1) ◽  
pp. 34-46 ◽  
Author(s):  
Chengcheng You
Keyword(s):  
National Identity ◽  
Modern China ◽  
Historical Time ◽  
The West ◽  
The Real ◽  
Quest For Meaning ◽  
National Allegory ◽  
Canonical Text ◽  
The Fantastic ◽  
Monkey King

This article reviews four major Chinese animated adaptations based on the classic Journey to the West. It shows how these adaptations, spanning four historical phases of modern China, encapsulate changes in Chinese national identity. Close readings underpin a developmental narrative about how Chinese animated adaptations of this canonical text strive to negotiate the multimodal expressions of homegrown folklore traditions, technical influences of western animation, and domestic political situations across time. This process has identified aesthetic dilemmas around adaptations that oscillate between national allegory and individual destiny, verisimilitude and the fantastic quest for meaning. In particular, the subjectivisation of Monkey King on the screen, embodying the transition from primitivistic impulse, youthful idealism and mature practicality up to responsible stewardship, presents how an iconic national figure encapsulates the real historical time of China.

THE FEATURES OF FEMALE IMAGES IN THE TRAGEDIES OF GUSEYN JAVID

2020 ◽  
Vol 5 (3) ◽  
pp. 180-188
Author(s):  
Malika Adigezalova ◽  
Keyword(s):  
Female Characters ◽  
Female Images ◽  
Female Figures ◽  
Characteristic Features ◽  
And Behavior ◽  
The Given

The article is devoted to the features of female types in the tragedies of one of significant playwrights of the XX century Guseyn Javid. In the given article, they analyse and compare the characteristic features and behavior of the female figures of the author’s such literaryworks as «Mother»(Selma, Ismet), «Maral»(Maral, Humay), «Afet»(Afet, Alagoz), «Siyavush»(Farangiz, Sudaba). The basis of the article lies in the creative works of G.Javid, where special attention is attracted by several types of female characters, among which the types of a traditional eastern woman are most brightly represented

Ein Unsterblicher und seine Doppelgänger

2012 ◽  
Vol 2012 (1) ◽  
pp. 79-98
Author(s):  
Gérard Raulet
Keyword(s):  
Alter Ego

Walter Benjamins »destruktiver Charakter«, sein alter ego, ist nicht so einsam, wie es scheinen mag, sondern hat im bürgerlichen Lager, in der Person eines eher konservativen Kulturkritikers und Verteidigers der auserlesensten Bildung, einen Doppelgänger – soweit dieser avantgardistische künstlerische Positionen vertritt. Und dieser Doppelgänger hat ebenfalls einen Doppelgänger: »Monsieur Teste«. Daß es zwischen Benjamin und Valéry zu einem solchen Refraktionsspiel kam, ist kein Zufall. Der Dialog mit Valéry geht bei Benjamin auf das Frühjahr 1925 zurück und bildet einen roten Faden, der in der Verstrickung von Avantgardismus und Kulturkritik am deutlichsten zutage tritt.

Models Of The Fantastic In Flann O’Brien’s The Third Policeman

2020 ◽  
pp. 337
Author(s):  
عبدالهادى أبو جويد ◽  
غادة سعسع
Keyword(s):  
The Third ◽  
The Fantastic
Sign in / Sign up

Export Citation Format

Share Document