scholarly journals Lo jurodivyj in Nostalghia. Genesi ed evoluzione di Domenico nella sceneggiatura di Tarkovskij e Guerra

2021 ◽  
Vol 19 (2) ◽  
Author(s):  
Cristina Matteucci
Keyword(s):  
Holy Fool ◽  
Andrei Tarkovsky

This article aims to analyze the evolution of Domenico’s character in the different versions of Nostalghia’s script, written by Andrei Tarkovsky and Tonino Guerra. By comparing the director’s diaries with the twelve original typescripts kept in the Tarkovsky’s archive, it is possible to trace the origin and the evolution of the character, which has some similarities with the holy fool of Russian tradition. In the first versions of the script, in which the character is still vague and undefined, there are some quotes from Dostoevsky’s works that refer to the theme of madness. These references disappear in the latest versions, when Domenico begins to acquire more importance in the narrative and often expresses himself about madness with quotes from Guerra’s works.

scholarly journals Figura świętego głupca w twórczości Andrieja Tarkowskiego

2019 ◽  
Vol 40 ◽  
pp. 175-186
Author(s):  
Bartosz Wieczorek
Keyword(s):  
Internal Conflict ◽  
Russian Culture ◽  
Russian Orthodoxy ◽  
Cultural Phenomenon ◽  
Holy Fool ◽  
Strong Reflection ◽  
The World ◽  
Andrei Tarkovsky ◽  
Over Time

The figure of the “holy fool” in the work of Andrei TarkovskyThe article analyzes the figure of the “holy fool” — a specific cultural phenomenon of Russian Orthodoxy, which found its strong reflection in the work of Andrei Tarkovsky. After showing the essence of the work of the Russian director, i.e. the internal conflict in man between the material and spiritual sphere, the Christian pedigree of the figure of the “holy fool”, which finds a special expression in Russian culture, is presented. Over time, it undergoes significant transformations. In Tarkovsky’s films, the figure of the “holy fool” allows the director to manifest his opinions and his view of the world, the role of art or the vocation of the artist. Tarkovsky’s “holy fool” evolves from a purely Christian figure, a humble and trusting figure fighting with all evil, through the original loner seeking consolation for others, to a figure, which destroys the existing order while awaiting the reaction of God connected with the restoration of the harmony to the world.

Figures of Iurodstvo in Tarkovsky’s The Passion According to Andrei

2015 ◽  
Vol 49 (1) ◽  
pp. 83-107
Author(s):  
Robert Efird
Keyword(s):  
Narrative Style ◽  
Essential Aspect ◽  
Holy Fool ◽  
Perception Of Time ◽  
Andrei Tarkovsky ◽  
Modes Of Thought ◽  
Time Image

Variations on the holy fool recur throughout the films of Andrei Tarkovsky but the figure of the iurodivyi is perhaps never more pervasive or critical to the task at hand than in his second feature-length film, The Passion According to Andrei. This article examines holy foolishness as an essential aspect of the artistic personality in Tarkovsky’s depiction of Andrei Rublev, Boriska, and Theophanes the Greek. In addition, Tarkovsky’s idiosyncratic narrative style, with its close similarities to Deleuze’s description of the time-image, exhibits similarly oppositional and provocative patterns. As this examination finds, the holy fool may also function as a figure for the overarching narrative as it strives, through various means, to push the viewer from complacent modes of thought and stimulate a more direct, less spatialized perception of time or duration.

Time and the Film Aesthetics of Andrei Tarkovsky

1992 ◽  
Vol 2 (1) ◽  
pp. 21-30 ◽  
Author(s):  
Donato Totaro
Keyword(s):  
Andrei Tarkovsky ◽  
Film Aesthetics

Idiocy

2018 ◽  
Author(s):  
Joseph N. Straus
Keyword(s):  
Modernist Literature ◽  
Holy Fool ◽  
Musical Representations ◽  
Natural Man ◽  
Musical Modernism ◽  
The Village ◽  
Music Representations ◽  
Deep Interest

Idiocy, once understood as a mark of divine disfavor, is later medicalized under a variety of seemingly scientific classifications, culminating in a eugenic-era fear of the “menace of the feebleminded” and the widespread institutionalization to which it gave rise. In literature and in music, representations of idiocy have generally fallen into a small number of types: the Holy Fool and the Sentimental Idiot; the Wild Child and the Natural Man; the Village Idiot (often played for laughs); and the Eugenic Idiot (simultaneously pitiable and a feared source of violence, possibly sexual in nature). Modernist music represents idiocy in its tendency toward simplification in all domains; its static, nondevelopmental character; its deliberate cultivation of disfluency and inarticulateness; its interest in generic incongruity; its pleasure in low humor; and above all its deep interest in the childlike, the folk, and the primitive (including the racial primitive). As in modernist literature, musical representations of idiocy enable the sorts of compositional innovations that are widely understood as defining musical modernism.

scholarly journals God Below: A Faith Born in Hell—Life and Fate and the Otherwise Than Being

Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 84
Author(s):  
Karl Shankar SenGupta
Keyword(s):  
Emmanuel Levinas ◽  
Problem Of Evil ◽  
The Other ◽  
French Army ◽  
Holy Fool ◽  
The Holocaust ◽  
The Problem Of Evil ◽  
Utopian Thought ◽  
Primary Focus

This essay examines the idea of kenosis and holy folly in the years before, during, and after the Holocaust. The primary focus will be Vasily Grossman’s Life and Fate, though it also will touch upon Fyodor Dostoevsky’s Demons and the ethics of the Lithuanian-Jewish philosopher Emmanuel Levinas, speaking to their intersecting ideas. Dostoevsky, true enough, predates the Shoah, whereas Grossman was a Soviet Jew who served as a journalist (most famously at the Battle of Stalingrad), and Levinas was a soldier in the French army, captured by the Nazis and placed in a POW camp. Each of these writers wrestles with the problem of evil in various ways, Dostoevsky and Levinas as theists—one Christian, the other Jewish—and Grossman as an atheist; yet, despite their differences, there are ever deeper resonances in that all are drawn to the idea of kenosis and the holy fool, and each writer employs variations of this idea in their respective answers to the problem of evil. Each argues, more or less, that evil arises in totalizing utopian thought which reifies individual humans to abstractions—to The Human, and goodness to The Good. Each looks to kenosis as the “antidote” to this utopian reification.

About Andrei Tarkovsky

1992 ◽  
Vol 36 (2) ◽  
pp. 267
Author(s):  
Leo Hecht ◽  
Marina Tarkovskaya
Keyword(s):  
Andrei Tarkovsky

WHY DID AVVAKUM PLAY THE HOLY FOOL? AN АNALYSIS OF THE ARCHPRIEST AVVAKUM’S CREATIVE PROCESS IN WRITING HIS "LIFE"

2021 ◽  
pp. 13-39
Author(s):  
Priscilla Hunt ◽  
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Personal Life ◽  
Creative Evolution ◽  
Knowledge Of God ◽  
Experiential Approach ◽  
Holy Fool

The article studies the polemical orientation of the hagiographical Life of the Archpriest Avvakum, Written by Himself in relation to the author’s earlier works, The Answer of the Orthodox, and other texts that were included together with the Life in the Pustozersk Collection. An analysis of the creative evolution of Avvakum’s thought will demonstrate that the Life’s appeal to holy foolishness at its narrative climax was its strongest ideological weapon against the new Church elite (the Nikonians). This appeal gave rise to an unprecedented emphasis on the author’s personal life experience that was meant to be proof of the “theoretical” arguments against Nikonian rationalism in the The Answer to the Orthodox. As a demonstration of a mystical-experiential approach to knowledge of God, his dramatized holy foolishness justified his choice to present his own biography as a publicistic hagiographical narrative.

THE HOLY FOOL

2016 ◽  
pp. 73-77
Keyword(s):  
Holy Fool
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