By Marlies Kronegger (auth.), Marlies Kronegger, Anna-Teresa Tymieniecka (eds.)

Bringing allegory into the sunshine from the overlook into which it fell capacity targeting the wondrous heights of the human spirit in its importance for culture.
modern philosophies and literary theories, which provide pre-eminence to fundamental linguistics kinds (symbol and metaphor), appear to prefer simply that which makes intelligible verbal exchange attainable. yet they fall brief in accounting for the private subliminal founts that urged the brain to exalt in good looks, advantage, transcending aspiration.
the current, wealthy assortment indicates how allegory, incorporating the hovering of the spirit, deals highlights for tradition, with its fluctuations and transformation. This collective attempt, wealthy in principles and intuitions and overlaying 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 numerous 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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As a result, allegorical representations on stage call for simultaneous negations. For example, Human Genus in The Castle of Perseverence refuses the sensible service of Bonus Angelicus only to follow Malus Angelicus into a life of sin. One of the sins, Flesh (Caro), talks sweetly: I am Mankindys faire Flesh, florchyd in flowrys; My life is with lustys and likinge i-lent. With tapitys of tafata I timbyr my towrys; In mirthe and in melodye my mende is i-ment. (Bevington 807, lines 237-40) Thus, to respond properly to allegorical representations by means of negation is part of a dramatic tension resulting from testing the ability of the audience to recognize the inherent unity of opposites.

The menu for the whole year is made up in advance, day by day. Monsieur Ie marquis has nothing to wish for. He has strawberries when there are strawberries, and the first mackerel to arrive in Paris, he eats it. 16 This painfully contrived mode of existence contrasts with the positive self-preservation which first characterizes both the cold and haughty Foedora and the mysterious keeper of the antique shop. The latter attributes his remarkable longevity directly to the powers of seeing and knowing.

Analecta Husserliana XLII, pp. 37-47. © 1994 Kluwer Academic Publishers. 38 CHRISTINE RAFFINI virtues and vices, Balzac's personifications are first of all complex characters, replete with habits, desires, aversions and ambitions. In writing off these characters as inflexibly and rigidly constructed on a particular central passion, many critics have failed to take this complexity into account. In the following pages, I will attempt to show that many of the protagonists of La ComMie humaine, despite their great diversity and complexity, consistently personify on the one hand forces of conservation, preservation, retention and expansion and, on the other, opposing forces of release, self-sacrifice, prodigality and dispersion.

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