Ontološki ključ razumijevanja slike Mrtvi Krist u grobu Hansa Holbeina mlađeg

Prihvaćajući argumente u prilog tzv. kartuzijanskoj hipotezi, tj. stajalištu da je Holbeinova slika Mrtvi Krist u grobu izvorno zamišljena kao nadgrobni spomenik u baselskoj kartuziji, autor analizira tekst epitafa s kojim je ona trebala činiti cjelinu. Kao rezultat te analize, autor naglašava važnost ontološkog značenjskog sloja tog epitafa u čijem svjetlu razvija ontološki ključ za razumijevanje te slike, povezujući ga sa smislom tradicionalne kartuzijanske opomene memento mori. Uzimajući u obzir ontološki smisao te opomene, tjeskoba promatrača Holbeinova Mrtvog Krista tumači se na tragu refleksije o pojmu Ništa (das Nichts) u egzistencijalnoj analici Martina Heideggera i Bernharda Weltea.

Memento mori. Мотиви та образи смерті в макабричних оповіданнях (на основі антології "Вбивство на вулиці...")

Цю статтю присвячено простеженню мотивів і образів смерті в макабричних оповіданнях, опублікованих в сучасній українській антології жахів Вбивство на вулиці... (2019). Коротко схарактеризовано наявність мотивів і образів смерті в українській літературі. Подано дефініцію термінів мотив, образ. Під час поглибленого аналізу здійснено класифікацію різновидів і типів смерті в згаданих оповіданнях, віднайдено образи, які доводять присутність смерті в окремих оповіданнях збірки. У висновку дослідження стверджено, що мотиви та образи смерті домінують у фабулі антології, що підтверджує актуальність і обґрунтованість подальших досліджень, присвячених проблемі смерті в сучасній літературі жахів.

Memento Mori ou Lembra-te que morrerás | Memento Mori or Remember you'll die

Nos encontramos no momento atual, marcados por uma ideia de doença, iminência da morte e isolamento. Assim, nesse ensaio faz-se repensar sobre as imagens subjetivas do vazio, da melancolia e da solidão no sujeito. No processo de Memento Mori ou Lembra-te que Morrerás busca-se uma imagética do suicídio, do rastro da vida, do “após a vida”, que também termina por nos revelar, a impossibilidade de experienciar a própria morte.ORCIDhttps://orcid.org/0000-0003-3274-2036

Intimations of Mortality: Death in Children's Fantasy

<p>"Children's books have always been filled with death," Patrick Ness writes in his review of Neil Gaiman's The Graveyard Book. "You can't have an orphan without at least two dead people, after all." Literary childhood, from its origins, is not only associated with, but commonly defined by the experience of loss. This thesis argues that children's literature is fixated on endings; that it is marked by the insistent, and persistent, presence of mortality. Further, it argues that mortality is not just a prevalent theme, but a fundamental organising principle both thematically and structurally, working to define the genre and shape its form and substance. The mortal notes in children's literature are an inevitable effect of the peculiar conditions of its production. Children do not, for the most part, write their own literature: it is written by adults who necessarily write to, of, and for the child from a point in time irrevocably apart from it. Critic Jacqueline Rose has famously articulated the "acknowledged difference, a rupture almost, between writer and addressee" on which children's literature rests. The overwhelming presence of mortality in the genre is a direct effect of the rupture at its heart: inevitably aware of the acknowledged difference between writer and addressee, and filtered through adult memory and imagination, literary childhood cannot help but be framed as eulogy and elegy, constructed as the beginning of an ending. This reading, then, addresses the gap between adult and child that has occupied children's literature criticism for almost thirty years, but it moves beyond questions of power and control to focus on its creative effects. The thesis explores mortality and the construction of literary childhood in relation to adulthood in a range of fantasy subgenres. It begins with the classics of the Victorian Golden Age, exploring the writing of childhood at the origins of modern children's fantasy. The chapters on animal stories, toy stories and ghost stories all shed light on the figuring of childhood through close association and identification, each foregrounding particular qualities with which literary childhood is invested. In animal characters, primacy is given to an intense and largely contextless vitality, to an orientation in a paradoxically eternal and eternally fleeting present moment. Toys are memory boxes, highlighting the importance of the child (and children's literature) as a lieu de mémoire. Ghost characters emphasise the ways in which childhood is figured as past and as haunting, memorialised even in its presence. In time-slips and alternate world fantasy, the dissonant once-and-future oriented, mortal qualities of literary childhood manifest themselves in the manipulation of the time and space of setting. But as dependent as the impulse to elegy is on difference, it also depends for its entire effect on the inescapable continuity between adult and child. Put another way, we were once them. They will be us. That the "impossible" relation between adult and child is so neatly encapsulated by the memento mori – "that which you are, we were; that which we are, you shall be" – speaks to how and why mortality casts so deep a shadow in the literature.</p>

Intimations of Mortality: Death in Children's Fantasy

<p>"Children's books have always been filled with death," Patrick Ness writes in his review of Neil Gaiman's The Graveyard Book. "You can't have an orphan without at least two dead people, after all." Literary childhood, from its origins, is not only associated with, but commonly defined by the experience of loss. This thesis argues that children's literature is fixated on endings; that it is marked by the insistent, and persistent, presence of mortality. Further, it argues that mortality is not just a prevalent theme, but a fundamental organising principle both thematically and structurally, working to define the genre and shape its form and substance. The mortal notes in children's literature are an inevitable effect of the peculiar conditions of its production. Children do not, for the most part, write their own literature: it is written by adults who necessarily write to, of, and for the child from a point in time irrevocably apart from it. Critic Jacqueline Rose has famously articulated the "acknowledged difference, a rupture almost, between writer and addressee" on which children's literature rests. The overwhelming presence of mortality in the genre is a direct effect of the rupture at its heart: inevitably aware of the acknowledged difference between writer and addressee, and filtered through adult memory and imagination, literary childhood cannot help but be framed as eulogy and elegy, constructed as the beginning of an ending. This reading, then, addresses the gap between adult and child that has occupied children's literature criticism for almost thirty years, but it moves beyond questions of power and control to focus on its creative effects. The thesis explores mortality and the construction of literary childhood in relation to adulthood in a range of fantasy subgenres. It begins with the classics of the Victorian Golden Age, exploring the writing of childhood at the origins of modern children's fantasy. The chapters on animal stories, toy stories and ghost stories all shed light on the figuring of childhood through close association and identification, each foregrounding particular qualities with which literary childhood is invested. In animal characters, primacy is given to an intense and largely contextless vitality, to an orientation in a paradoxically eternal and eternally fleeting present moment. Toys are memory boxes, highlighting the importance of the child (and children's literature) as a lieu de mémoire. Ghost characters emphasise the ways in which childhood is figured as past and as haunting, memorialised even in its presence. In time-slips and alternate world fantasy, the dissonant once-and-future oriented, mortal qualities of literary childhood manifest themselves in the manipulation of the time and space of setting. But as dependent as the impulse to elegy is on difference, it also depends for its entire effect on the inescapable continuity between adult and child. Put another way, we were once them. They will be us. That the "impossible" relation between adult and child is so neatly encapsulated by the memento mori – "that which you are, we were; that which we are, you shall be" – speaks to how and why mortality casts so deep a shadow in the literature.</p>

Modernity and Its Ruins in Of Love and Other Demons

In Of Love and Other Demons (1994), García Márquez presents a tableau of daily life in the city of Cartagena de Indias in the eighteenth century with the opening paragraphs of the novel, situating the center of the action in the harbor and a ship with slaves that had arrived from Guinea. In order to depict the city and its inhabitants, the narrator adopts the point of view of a chronicler, positioning himself within the discourses of power of the metropolis in colonial Latin America. This article analyzes the subversion of those discourses of power that the narrative voice carries out from within, as it seemingly anchors the action in an identifiable space and time, only to dismantle the pretension of progress, historical or otherwise. The narrator-chronicler—an extension of the author-journalist in the introductory pages to the novel—intertwines competing philosophies and ideologies not through the all-encompassing view of magical realism but by laying bare the binary oppositions enacted by “the lettered city.” Having been born from the bones discovered in the crypt of the convent, the whole narrative becomes a memento mori, its development punctuated by instances of illness and demise, such as the corpses of the slaves afloat in the harbor, or the annihilation of reason, both literally and metaphorically, signified in a diagnosis of rabies. Thus, the novel cannot but be an extension of death, an ironic chronicling of a progress arrested by its material and moral ruins.

Dois livros, 201 sonetos: Ressurreição e Memento mori, de Carlos Newton Júnior

Resenha de Ressurreição: 101 sonetos de amor (2019), e Memento mori: os sonetos da morte (2020), de Carlos Newton Jr.

The Meaning of Pain and the Pain of Meaning: A Bio-Hermeneutical Inquiry

My main interest here is to look at pain as a sign of the body that something is wrong. I will argue that there is a meaning of pain before and after an illness is diagnosed. An illness contains its own semantic paradigm, but the pain before the diagnosis affects the pace of life, not only by limiting our interactions, but also as a struggle with its meaning and a reminder of mortality.My main approach is what I call bio-hermeneutics, an extension of medical hermeneutics branching out from the Continental hermeneutical tradition. As such, I will explore the connection between pain and language, temporality, dialectics, and ontology. Given the centrality of language in constructing the meaning of pain, my analysis is informed by the semantics (looking at pain metaphors), syntax (pain as incoherence), and pragmatics (pain as companion) of expressing pain.The last section explores the meaning of pain in connection with death, as memento mori. Revisiting an old definition of philosophy as melete thanatou, or ‘rehearsal of death’, I will reflect on the difficulty of finding meaning not only for pain, but also for death as cessation of all existential possibilities.

Estética da ansiedade:

Fenômenos culturais como a emergência de certas práticas artísticas assentam-se em questões complexas cuja força motriz manifesta-se nas conjunturas socioeconômicas, políticas, etárias, laborais e até mesmo subjetivas dos agentes envolvidos. Nesse artigo pretendemos estabelecer algumas notas conceituais - a partir dessa abordagem multifacetada - sobre a estética da ansiedade na cultura britânica do final do século XX, sobretudo no que tange a arte e a moda. A estética da ansiedade como conceituada pelo autor será descrita a partir da conversão de suas manifestações plásticas mais regulares - a saber, wasted look, mortality-fetishism, estética abjetual, memento-mori contemporâneo, e farmacofilia social - e operacionalizada de modo a afinar sua relação com uma ideia dos riscos reais e fabricados que atravessavam o imaginário social da juventude britânica. Recuperando os debates sociológicos de pensadores como McRobbie, Giddens e Beck buscaremos conectar esse quadro analítico às respostas culturais dessa juventude em sua exploração de seus traumas geracionais.