Article
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The Envy in Curial and Güelfa and its representation in the Middle Ages autumn art
Ricardo da COSTA, Armando Alexandre dos SANTOS
Original title: A Inveja em Curial e Guelfa e sua representação na arte do outono da Idade Média
Published in Art, Criticism and Mysticism
Keywords: Capital Sins, Medieval Art, Medieval Philosophy, Medieval Theology.
In the anonymous chivalric novel Curial and Guelfa (XVth century), the Envy, one of the seven capital sins of the Medieval Septenary, offers a literary background (but also a philosophical-moral one) and is the foundation of both the plot teatralization and the characters poetic construction. As a recurrent theme in Medieval Philosophy, Theology and Homiletics, therefore, the Envy can also be considered as the novel’s leitmotiv. The purpose of this work is to present some initial remarks concerning this theme in Curial and Guelfa, and especially, relate it to some artistic representations of Envy in the period, such as, for example, the Arena Chapel Fresco (1308) of Giotto di Bondone (c. 1266-1337), The Last Judgement (c. 1393), of Taddeo di Bartolo (c. 1362-1422), besides, naturally, the famous iconographic representation of the theme by Hieronymus Bosch (c. 1450-1516): The Seven Capital Sins (c. 1485). To this purpose, our analysis will be methodologically based on the literary narrative method of Johan Huizinga (1872-1945), as exposed in his classic The Autumn of the Middle Ages (1919).
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The allegorical representation in the Bad Women by Francisco de Goya (1746-1828): narrative and iconological analysis
Alexandre Emerick NEVES, Sabrina Vieira LITTIG
Original title: A representação alegórica na obra Mulher Má de Francisco de Goya (1746-1828): análise narrativa e iconológica
Published in Art, Criticism and Mysticism
Keywords: Allegory, Francisco de Goya, Iconography, Sorceress.
We present a study about of allegorical elements of representation from female figure in the work Bad Woman by Francisco de Goya y Lucientes. Through stemming images of popular imagination that throw themselves in time and serve to reinforce decadent social stereotypes, we propose a brief discussion of the allegory its significant and symbolic structures. The iconological approach of some narrative aspects of these artistic formulations indicates how the popular imagination contributed to the development of the witch myth, creature represented as evil reference by the artists of the Middle Ages and the Renaissance, pernicious enemy of religious and moral structures. We emphasize the symbolic and conceptual relationships in the modern development of these figures in Goya's work.
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The representation of Eroticism in Art and Literature
Almerinda da Silva LOPES, Lívia Santolin BORGES
Original title: A representação do Erotismo na Arte e na Literatura
Published in Art, Criticism and Mysticism
Keywords: Art, Eroticism, Literature, Sade.
The present work is focused representation of eroticism as a literary and artistic genre. For the development of this proposal, it was necessary to define the term eroticism, but also explain how to use this theme in art and literature. To that end, we need to address, commenting since the period of cave painting, through classical Greek art, Roman and Oriental art, until you get to modernism; as well as review the literature in Portugal in the twelfth century, the literature in the Renaissance and the French Revolution and the works of Marquis de Sade.
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The Aesthetics of the Interpretation of Dreams
José Eduardo Costa SILVA, Ernesto HARTMANN
Original title: A Estética da Interpretação dos Sonhos
Published in Art, Criticism and Mysticism
Keywords: Aesthetics, Freud., The Interpretation of Dreams.
This paper presents a philosophical study of the tensions and interconections between Aesthetics and Logic in The Interpretation of Dreams by Sigmund Freud (1856-1939). We wish to demonstrate how Freud in this text which is strategic for the establishment of psychoanalytic praxis and that resonates in contemporary artistic movements, establishes a method supported in the accuracy of observation and logic and, at the same time, invocates in aid to this method notions of representation, form, content and unit, seemingly opposing thus the idealist philosophical tradition, historically founded in the distinction between the intelligible and the sensible.
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Flexibility of musical hearing
Gaspar PAZ
Original title: A flexibilidade da escuta musical
Published in Art, Criticism and Mysticism
Keywords: Aesthetic experience, Artistic criticis, Artistic languages, Flexible listening, Music.
Herein we analyze some aspects of the artistic criticism and aesthetic experience, which stand out in Gerd Bornheim’s interpretations. For him, the critical disposal should follow the creative process and the expressive praxis. In this way, we will assume musical language as an inflexion point highlighting the contrast between two forms of perception: the intellectualist listening and flexible listening to the music. Such instances symbolize the buildup of an interpretative and practical boldness in which the role of sound is stressed. There are at least two plausible hypotheses in bornheimnian approach. The first one, phenomenological, handles the music as language towards a dialectic of social relations and it takes into account the historical alternations of subjectivity. The second trends to a broader analysis of artistic expressions, in which the dialogue between music, theater, poetry, cinema and art is emphasized. It is therefore important to appreciate the critical relevance of Bornheim’s work and the special place he assigns to the relationship between arts, philosophy and politics.
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The aesthetic anamnesis of Umberto Eco
Ricardo da COSTA
Original title: A anamnese estética de Umberto Eco
Published in Art, Criticism and Mysticism
Keywords: Anamnesis, Medieval Aesthetics, Middle Ages, Umberto Eco.
The purpose of this paper is to present and analyze the aesthetic ideas of Umberto Eco (1932- ) in his book Art and Beauty in the Middle Ages (1987), particularly the aesthetic sensibilities and interests of medieval themes in the metaphysics of light (claritas), symbolism and allegory, and the aesthetic vision of the universe. For this we will use the Anamnesis Eric Voegelin's concept, exposed in their work – ANAMNESIS - From Theory of History and Politics (2002) – in which the author applies his philosophy of consciousness to your retrospective existential dimension, added to the aesthetic's considerations by the philosopher Roger Scruton (1944- ).
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The myth as tool of persuasion in Plato’s Phaedrus
Barbara BOTTER, Rodrigo Danúbio QUEIROZ
Original title: O mito como ferramenta de persuasão no Fedro de Platão
Published in Art, Criticism and Mysticism
Keywords: Myth, Phaedrus, Plato, truth.
The article aims to analyze Plato’s Phaedrus. Centralizes the importance of myth as a persuasion tool to achieve true dialogue. For this, a reflection took place, through dialogue, the structure of the myth; its symbology and the possibility of Plato recognize the limits of philosophical knowledge in wanting to reach the truth. The philosophical argument used by Socrates is based on the myth erotic speech. This discourse, in its mythical route reaches lovers and persuades regarding the definition of the soul, of its participation in the divine and beauty fashion. Therefore, it is evident that Plato recognizes the influence that non-rational world has about the very possibility of understanding the rational statements. The event that takes place in the dialectical movement of his maieutic.
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The Christ and the History: a dialectical perspective of the Christological quarrels
José Pedro LUCHI, Helio Pedro Pretti PERIM
Original title: O Cristo e a História: uma perspectiva dialética das querelas cristológicas
Published in Art, Criticism and Mysticism
Keywords: Christology, Councils, Dialectic, Incarnation, Katabasis.
This research atempts to trace the progress of the historical and theological comprehension of the Person of Christ by exposing the positions risen before Nicea, as well as those developed during the first four ecumenic councils, in order to investigate the competence of the formulae throughout achieved. Two major works will be of aid to this quest, namely The Ecumenical Councils, by the historian Hubert Jedin, and The Incarnation of Christ, by the philosopher and theologian Hans Küng, which assumes the dinamics of the Hegelian dialect all along his work. The concepts of katabasis and anabasis, both borrowed from the mythological analysis tradition, will be summoned to the actual research and resignified by their new usage in the Judaeo-Christian theodissey. Concepts whose meanings are broadly urdestood in the Christian context like kenosis, incarnation and humanization will also be utilized. The research will climax in the Council of Chalcedon, the one in which the ultimate definition of Christ’s nature was arranged. It’s formula is crucial to understand the relationship between Jesus, God and man in the subsequent medieval thought.
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Moses and the gnosiology of God, according Gregory’s of Nyssa interpretation in Canticum Canticorum
Eirini ARTEMI
Original title: Moses and the gnosiology of God, according Gregory’s of Nyssa interpretation in Canticum Canticorum
Published in Art, Criticism and Mysticism
Keywords: Agnoia, Canticum Canticorum, Gnofos, Gnosiology, Gregory of Nyssa, Ignorance, Knowledge, Moses.
This paper seeks to provide an exposition on Gregory of Nyssa’s work on how Moses could “know” and “see” God. Humanity and God stand on two very different planes of existence. Moses “knew” God, because he tried to leave with God’s order. Every time that Moses made a movement that included a kind of his sacrifice, God appeared to him. God presented Himself to Moses through the burning bush. Gregory underlined that that every person, included Moses, can know the essence of God – one cannot know what God is. However, one can know “that God is” – meaning that we can know that God exists. Moses had many “visions” of God and Gregory explained that it is not possible for any man to describe these God’s revelation to Moses, because “Humans are not capable of this knowledge because it is “other than” or “beyond” them”. Moses wanted to see God all the time. Gregory reminded his audience that erotic desire mirrors spiritual desire only in part; spiritual desire – and ultimately the divine nature – cannot be limited to erotic desire. Thus, Gregory of Nyssa highlighted both God’s imminence and God’s transcendence. Moses wanted to see the same face of God. His desire was expressed to God. He knew that Salvation is achieved through knowledge about God, but in Christian dimension. This knowledge determined both humans and the form and content of their life. The knowledge for God is no longer man’s work in Christian teaching. It is the work of faith to the revealed truth. For this high feat-conquest has as assistant only the faith of man to God and the grace of God to man.
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Breuitas in the work of Festus of Tridentum
Moisés ANTIQUEIRA
Original title: A breuitas na obra de Festo de Tridento
Published in Art, Criticism and Mysticism
Keywords: Breuitas, Festus, Latin historiography in the Fourth Century AD.
The paper intends to point out how the epitomator Festus of Tridentum dealt with the ideal of brevity – the Latin breuitas – in his historical compendium. Nevertheless, it is noteworthy to mention that Festus did not use that rhetorical tool in an unvarying manner.
