By Marlies Kronegger (auth.), Marlies Kronegger, Anna-Teresa Tymieniecka (eds.)
Bringing allegory into the sunshine from the forget into which it fell skill targeting the wondrous heights of the human spirit in its importance for culture.
modern philosophies and literary theories, which offer pre-eminence to basic linguistics types (symbol and metaphor), appear to want simply that which makes intelligible communique attainable. yet they fall brief in accounting for the inner most subliminal founts that advised the brain to exalt in attractiveness, advantage, transcending aspiration.
the current, wealthy assortment indicates how allegory, incorporating the hovering of the spirit, bargains highlights for tradition, with its fluctuations and transformation. This collective attempt, wealthy in principles and intuitions and masking an enormous diversity of cultural manifestations, is a pioneering paintings, retrieving the imaginative and prescient of the exalted human spirit, bringing jointly literature, theatre, song and portray in quite a few revealing perspectives.
The authors contain: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas.
For experts, scholars and staff in philosophy, comparative literature, aesthetic phenomenologists and historians of art.
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Additional resources for Allegory Old and New: In Literature, the Fine Arts, Music and Theatre, and Its Continuity in Culture
Magnus von Platen (Stockholm: Kungl. Boktryckeriet P. A. Norstedt & Soner, 1966). 5 "G. B. Galastruzzi. Final Scene", II Trionfo della Pieta" in Per Bjurstrom, Feast and Theater in Queen Christina's Rome (Stockholm: Bengtons litografiska A. , 1966), p. 31 and Engraving. D. Dirickson, 1946, Analecta Reginensia I. 22 MARLIES KRONEGGER "The "Frontispiece" of the Christina Bible", Analecta Reginensia I, p. l. J. Arckenholtz, Memoires pour servir a l'histoire de Christine, reine de Suede, I, II (Amsterdam, Leipzig, 1751-1760) Vol.
Thus, any dramatic "loose ends" are avoided. In the case of the passion plays the via negativa emphasizes Christ's humanity by the lack of humility on the part of his tormentors. In the Wakefield Scourging, Christ remains silent throughout his suffering and thus acquires the status of the allegorical representation of humility. In other words, the meaning of the silent figure on stage emerges from the doctrinal knowledge on the part of the audience and not from the direct meaning of the blasphemous words spoken by the tormentors.
Scilla. Christina sitting on a throne surrounded by, from left to right, Architecture, Study of the Antique, Conversion to Catholicism, History, Sculpture pointing at its work "Victoria Maxima" - the symbol of Christina's abdication -, Mathematics, Painting and Poetry. JADWIGA SMITH ALLEGORY AND THE DRAMATIC FOUNDATIONS OF THE MEDIEVAL THEATER The investigation of the dramatic principles of mystery or morality plays is not a novel task. Jerome Taylor's "The Dramatic Structure of the Middle European Corpus Christi, or Cycle, Plays," Richard J.