Academic literature on the topic 'He-Man figures'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'He-Man figures.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "He-Man figures"
1
Bauckham, Richard. "Is “High Human Christology” Sufficient? A Critical Response to J. R. Daniel Kirk's A Man Attested by God." Bulletin for Biblical Research 27, no. 4 (January 2017): 503–25. http://dx.doi.org/10.5325/bullbiblrese.27.4.0503.
Full textAbstract:
Abstract J. R. Daniel Kirk's book A Man Attested by God argues that the Christology of the Synoptic Gospels should be understood as “high human Christology,” placing Jesus within a category of “idealized human figures” who, in Jewish literature, are “identified with God.” He claims to refute my argument for “divine identity Christology,” but in fact he badly misunderstands it, as his constant use of the vague term identified with God (which I do not use of Jesus) shows. My claim is that Jesus is “included in the unique identity of God” because he rules the whole universe from the cosmic throne of God above the heavens, the throne on which, in Jewish literature, no one but God sits. Other human figures, such as the kings of Israel, share in God's rule only in the sense that, as servants of God, they exercise a limited sphere of authority on earth. The article goes on to discuss Matthew's Christology in particular, showing that Kirk's category “idealized human figure” cannot do justice to major features of Matthew's Gospel that indicate Jesus's inclusion within the unique divine identity.
2
Collins, John J. "The Son of Man in First-Century Judaism." New Testament Studies 38, no. 3 (July 1992): 448–66. http://dx.doi.org/10.1017/s0028688500021846.
Full textAbstract:
For much of this century the notion of aMenschensohn, or Son of Man figure, loomed large in scholarly reconstructions of Jewish eschatological expectations in the time of Jesus. The primary Jewish attestation of this figure was found, of course, in Dan 7.13, with complementary appearances in theSimilitudes of Enochand 4 Ezra 13. There was considerable diversity of opinion about the origin and precise nature of this figure. More imaginative scholars, like Sigmund Mowinckel, held that ‘Conceptions of a more or less divine Primordial Man were widespread in the ancient east. Apparently there is a historical connexion between the varying figures of this type, which seem to be derived, directly or indirectly, from Iranian or Indo-Iranian myths.’1The Jewish conception of ‘the Son of Man’ was ‘a Jewish variant of this oriental, cosmological, eschatological myth of Anthropos’,2influenced by a syncretistic fusion of Iranian and Mesopotamian concepts. At the least, the phrase ‘Son of Man’ was thought to be a well-known, readily recognizable title for a messiah of a heavenly type, in contrast to the national, earthly, Davidic messiah. As recently as 1974 Norman Perrin could claim that all the recent studies of the ‘Son of Man Problem’ he had reviewed agreed on one point: ‘there existed in ancient Judaism a defined concept of the apocalyptic Son of Man, the concept of a heavenly redeemer figure whose coming to earth as judge would be a feature of the drama of the End time.’
3
Küçük, Hülya. "From his Mother Nūr al-Anṣāriyya to his Šayḫ Fāṭima bt. Ibn al-Muṯannā: Important Female Figures around Muḥyī l-Dīn b. al-ʿArabī (d. 638/1240)." Arabica 59, no. 6 (2012): 685–708. http://dx.doi.org/10.1163/157005812x618961.
Full textAbstract:
Abstract Muḥyī l-Dīn b. al-ʿArabī (d. 638/1240), well known for his favorable views on woman, is of the idea that there is a very strict love-bond in the God, man and woman trinity: God created Adam/man in His own image, and created woman on Adam/man’s image. Thus, God is the waṭan (country of origin) of Adam, and in turn Adam is the waṭan of woman. His mother Nūr al-Anṣāriyya, his wife Maryam and his daughter Zaynab should be regarded as the immediate important women around him. As he believed that man and woman were equal in everything, he followed both female and male šayḫs. Ibn al-ʿArabī’s esteemed female šayḫs include Fāṭima bt. Ibn al-Muṯannā, about whom he used the term “Divine mother;” Šams Umm al-Fuqarāʾ, and Faḫr al-Nisāʾ bt. Rustam, a scholar and the šayḫ of Ḥiğāz.
4
Bassi, Karen. "The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance edited by Fiona Macintosh; Modernism's Mythic Pose: Gender, Genre, Solo Performance by Carrie J. Preston." Dance Research Journal 45, no. 1 (April 2013): 111–17. http://dx.doi.org/10.1017/s0149767712000356.
Full textAbstract:
Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998): After the meal, the suitors competed with one another at singing and at public speaking. As the drinking progressed, Hippocleides had a clear lead over the others, but then he told the pipe-player to strike up a tune, and when the musician did so he began to dance (orchêsato). Now, although Hippocleides liked his own dancing a lot, Cleisthenes was beginning to look on the whole business askance. After a while, Hippocleides stopped momentarily and asked for a table to be brought in. When the table arrived there, he first danced a Laconian dance on it, then some Attic figures, and finally stood on his head on the table and waggled his feet around. Hippocleides' uninhibited dancing of the first and second sets of figures had already put Cleisthenes off having him as a son-in-law, but he kept silent because he did not want to scold him. When he saw him making hand gestures with his legs (echeironomêse), however, he could no longer restrain himself. “Son of Tisander,” he said, “you have danced away (aporchêsao) your marriage.” The young man replied, “Hippocleides doesn't care! And that is how the proverb arose.
5
Ndifon, Etta Julius. "Figures of Reality: Vision and Imagery in Niyi Osundare’s Poetry." African Journal of Social Sciences and Humanities Research 5, no. 5 (December 28, 2022): 139–52. http://dx.doi.org/10.52589/ajsshr-420lqdd4.
Full textAbstract:
The international stature and renown of Niyi Osundare as a poet is due in part to the fact that his restless creative impetus is engaged with the existential predicament of the common man, and partly also because of his reliance on imagery as a veritable artistic form for the definition and exploration of his themes. This paper examines Osundare’s poetic imagery from the standpoint of its imaginative and thematic values. It argues that Osundare’s imagery not only embodies the poet’s vision of his society, but is also central to his technique. The paper also examines the themes that have generally exercised Osundare’s image-making faculty, and how he uses imagery to amplify or illustrate those themes.
6
Syska, Katarzyna. "Condemned to victory. The novel Star Man by Aleksander Prokhanov." Świat i Słowo 35, no. 2 (November 26, 2020): 137–53. http://dx.doi.org/10.5604/01.3001.0014.5469.
Full textAbstract:
Alexander Prokhanov is one of the most significant figures in the patriotic-conservative circles in Russia. What makes him extraordinary is his versatility – he is a political activist, journalist, media personality and a writer. The idea of special historical destiny of Russia is a constant component of his political views which have a strong mystical background. The novel Star Man is a typical example of the literary expansion of his political concepts by referring to the poetics of myth.
7
Hariyanto, Hariyanto, and Fibriana Anjaryati. "Character Building: Telaah Pemikiran Ibnu Miskawaih tentang Pendidikan Karakter." Jurnal Pendidikan Islam Indonesia 1, no. 1 (October 2, 2016): 111–18. http://dx.doi.org/10.35316/jpii.v1i1.41.
Full textAbstract:
One of the figures of the Islamic philosopher that concern to talk about morals is Ibn Maskawaih. He is known in the world of philosophy as a man who became the center of attention of the Islamic-authors. In addition, he is also known as a great poet, physician, historian, and chemist. The shift of learner values, the changes of behavior, the character and pattern of teacher and student interaction becomes important to refer back to Ibn Maskawaihs’ thinking about how to make morality as the basis of mental development and behavior
8
Ellis, Richard S. "The trouble with “Hairies”." Iraq 57 (1995): 159–65. http://dx.doi.org/10.1017/s0021088900003053.
Full textAbstract:
Of all figures seen in Mesopotamian art, the naked or kilted human male figure with curls of hair on either side of his face is one of the most familiar. A form of this figure was portrayed already in the Jemdet Nasr period; he became common in Early Dynastic III, and particularly in the Akkadian period, after which he was less popular, though he was revived from time to time, probably until Achaemenid times. Since the early identification with Gilgamesh has been abandoned, he has been referred to by many names: the “six-locked hero”, “wild man”, “naked hero”, or whatever. Long ago Erich Ebeling cited evidence that his Akkadian name was talīmu, the “twin”. F. A. M. Wiggermann, in his article “Exit talim!”, and later in his valuable book Mesopotamian Protective Spirits, has argued that this familiar figure was instead referred to in Akkadian, at least in the first millennium B.C., as laḫmu, the “hairy one”, the “Hairy”. This identification has been accepted by numerous other scholars.Wiggermann presents the following evidence for his identification (listed from the most general to the most specific, rather than in Wiggermann's own order):1. Lexical evidence to show that the root lḫm means “to be hairy”, and that the noun laḫmu means “the hairy one”.2. Various citations of the noun laḫmu that in general are consistent with the identification.3. A very specific association of the term and the image in the Neo-Assyrian texts which prescribe the preparing of figurines to be buried in houses and palaces for protection against evil spirits. This evidence is the same as was used by Ebeling for his identification of the “wild man” as talīmu, which Wiggermann wishes to discredit.
9
Joost-Gaugier, Christiane L. "Ptolemy and Strabo and Their Conversation with Appelles and Protogenes: Cosmography and Painting in Raphael's School of Athens." Renaissance Quarterly 51, no. 3 (1998): 761–87. http://dx.doi.org/10.2307/2901745.
Full textAbstract:
AbstractThis paper studies the group of men on the lower right side of Raphael's School of Athens. While the portrayal of Euclid is undisputed, the figures who are attached to him have not yet been firmly identified. In studying these figures as part of the intellectual fabric of the painting as a whole, it becomes clear that each of these figures has a meaningful role that cannot be deduced by mere guessing. The figure with his back to us is quite clearly the great mathematician-cosmographer Ptolemy of Alexandria. Not only because he wears a particular crown, but more importantly because the globe he holds is terrestrial - a symbol of his scientific contribution to the humanist curriculum - can we be certain of his presence. The man who faces him is most likely Strabo, the most famous geographer known throughout medieval times and one who was also appreciated by humanists, especially for his consideration of the sphere and the celestial aspects of the universe in his Geography. Both Ptolemy and Strabo are well placed next to Euclid, for both are concerned with geometry. The two men to the far right are, it is suggested here, two famous painters of Greek antiquity, Apelles (in the guise of Raphael) and Protogenes (in the guise of Timoteo Viti?), whose presence reflects the interests of artists in the early Cinquecento. All these heroes are appropriately placed on Aristotle's side of the painting.
10
Domenighini, Sara. "EURIPIDE: MISOGINIA O GINOFOBIA?." Revista Internacional de Culturas y Literaturas, no. 16 (2015): 86–95. http://dx.doi.org/10.12795/ricl.2015.i16.05.
Full textAbstract:
Ripercorrendo le origini della civiltà, è If we go back to the origins of civilization, possibile identificare un momento storico in we find an historic moment characterized by cui la società era matriarcale. Analizzando matriarchal society. Through the analysis of le figure femminili presenti nelle tragedie di the feminine figures of Euripides’ tragedies, Euripide, possiamo comprendere il timore we can understand he fears a hypothetic che prova l’autore di un ipotetico ritorno return to woman’s predominance on man al predominio della donna sull’uomo e and we can interpret his reasons. Moreover, interpretarne le ragioni. Euripide, poi, si serve Euripides makes use of catharsis to prevent della catarsi per scongiurare tale eventualità. this possibility.
Dissertations / Theses on the topic "He-Man figures"
1
Sobel, Eric. "Masters of the Universe: Action Figures, Customization and Masculinity." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542401719051928.
Full textBooks on the topic "He-Man figures"
1
Sweet, Roger, and Wecker David. Mastering the Universe: He-Man and the Rise and Fall of a Billion-Dollar Idea. Emmis Books, 2005.
Find full text
4
Belsey, Alex. Image of a Man. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620290.001.0001.
Full textAbstract:
The post-war British artist Keith Vaughan (1912-77) painted male figures, whether alone or in groups, as a life-long enquiry into identity, sensuality, and the sanctity of the body. Yet Vaughan was not only a supremely accomplished painter; he was an impassioned, eloquent writer. Commenced in the summer of 1939 as war across Europe seemed inevitable, Vaughan’s journal was a space in which he could articulate ideas about politics, art, love and sex during a period of great political and personal upheaval. Image of a Man is the first book to provide a comprehensive critical reading of Vaughan’s extraordinary journal, which spans thirty-eight years and sixty-one volumes to form a major literary work and a fascinating document of changing times. From close textual analysis of the original manuscripts, this book uncovers the attitudes and arguments that shaped and reshaped Vaughan’s identity as a man and as an artist. It reveals a continual process of self-construction through journal-writing, undertaken to navigate the difficulties of conscientious objection, the complications of desire as a gay man, and the challenges of making meaningful art. By focussing on Vaughan’s journal-writing in the context of its many influences and its centrality to his art practice, Image of a Man offers not only a compelling new critical biography of a significant yet underappreciated artist, but also a sustained argument on the constructed nature of the ‘artist’ persona in early and mid-twentieth-century culture – and the opportunities afforded by life-writing, specifically journal and diary forms, to make such constructions possible.
5
McClune, Kate. ‘He was but a Yong Man’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0006.
Full textAbstract:
This chapter analyses the presentation of the figure of King Arthur in a selection of Scots chronicles and romances. It considers Scots ambivalence towards the figure of Arthur, and examines this against the perennial Scots concern with the problem of youthful kingship. In doing so, it highlights a hitherto neglected aspect in the equivocal Scottish treatments of Arthur: the issue of age. It argues that the varied nature of Arthur’s characterization is related to the extreme youth of the true heir (in Scots tradition at least), Modred, and a corresponding anxiety about minority rule which reflects contemporary Scots concerns. It concludes with an analysis of Malory’s Morte Darthur and points to hitherto unnoticed parallels in the English tradition.
6
Hutton, Ronald. The Making of Oliver Cromwell. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300257458.001.0001.
Full textAbstract:
Oliver Cromwell (1599–1658) — the only English commoner to become the overall head of state — is one of the great figures of history, but his character was very complex. He was at once courageous and devout, devious and self-serving; as a parliamentarian, he was devoted to his cause; as a soldier, he was ruthless. Cromwell's speeches and writings surpass in quantity those of any other ruler of England before Victoria and, for those seeking to understand him, he has usually been taken at his word. This book untangles the facts from the fiction. Cromwell, pursuing his devotion to God and cementing his Puritan support base, quickly transformed from obscure provincial to military victor. At the end of the first English Civil War, he was poised to take power. The book reveals a man who was both genuine in his faith and deliberate in his dishonesty — and uncovers the inner workings of the man who has puzzled biographers for centuries.
7
Woodhead, Linda. 1. Jesus: the God-man. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199687749.003.0002.
Full textAbstract:
‘Jesus: the God-man’ outlines the ways in which Jesus has been interpreted, and the role these understandings play in setting the boundaries of Christian thought and possibility. Christians agree that Jesus Christ has unique significance, yet they differ over how to explain it. Is he the human figure who teaches, inspires, and dies for the cause in which he believes? Or the divine figure who performs miracles, fulfils prophecies, rises from the dead, and is God. The orthodox position is that he is the God-man—both human and divine. The battles between these different understandings of Jesus, and the communities and institutions established around them, have shaped the course of Christianity.
8
Stevenson, Leslie. Eighteen Takes on God. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190066109.001.0001.
Full textAbstract:
This is a compact introduction to a variety of conceptions of God. Part I examines eight theologies: God as an old man in the sky; as an incorporeal person; as a necessary being; as truth, goodness, and beauty; apophatic theology (beyond all words); pantheism; deism; and open theology in which God acts and changes. The discussion shows differences over whether God is a person, whether he (?) is gendered, whether he is simple, whether he changes over time, and whether he can be spoken of at all. Part II reviews five different ways of understanding language about God: instrumentalism, reductionism, postmodernism, relativism, and a Wittgensteinian view. Part III moves closer to religious experience and practice, looking at the views of Otto, Buber, Kant, Tillich, and Quakers. There are also comments and endnotes on such diverse figures as William Blake, Samuel Palmer, Feuerbach, Don Cupitt, Goethe, Kierkegaard, Iris Murdoch, Simone Weil, Abbe Louf, John Gray, and Keith Ward. There is no overall commitment to theism, atheism, or agnosticism. Instead there is a sympathetic account of various views of the divine, combined with critical questioning about their meaning and practical application. In Chapter 18 Quakerism is recommended as one good way.
9
Ferguson, Gillum. Dickson and Forsyth. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036743.003.0006.
Full textAbstract:
This chapter talks about the meeting of two former enemies—Robert Dickson and Thomas Forsyth—in Saint Louis after the war had ended. During a cordial evening, the two talked over their exploits during the war. Dickson was one of the most colorful figures on the frontier; the Indians idolized him. He was a large man of commanding appearance, with a ruddy complexion and blazing red hair, for which the Indians gave him the name “The Red Head.” Meanwhile, Forsyth's ambiguous citizenship enabled him to live safely among the Indians by posing as an Englishman, but some Americans on the frontier distrusted him as a British subject. The outbreak of war brought Dickson and Forsyth into the service of their respective countries, and thus into conflict with each other.
10
James, Henry. The Aspern Papers and Other Stories. Edited by Adrian Poole. Oxford University Press, 2013. http://dx.doi.org/10.1093/owc/9780199639878.001.0001.
Full textAbstract:
There's no baseness I wouldn't commit for Jeffrey Aspern's sake.’ The poet Aspern, long since dead, has left behind some private papers. They are jealously guarded by an old lady, once his mistress and muse, a recluse in an old palazzo in Venice, tended by her ingenuous niece. A predatory critic is determined to seize them. What can he make of the younger woman? What are his motives? What are the papers worth and what is he prepared to pay? In all four stories collected here, including ‘The Death of the Lion’, ‘The Figure in the Carpet’, and ‘The Birthplace’, the figure of the artist is central. Extraordinarily prophetic, James explores the emergent new cult of the writer as celebrity, and asks, who cares about the work for itself? Can the man behind the artist ever truly be known, and does our knowledge explain the act of creativity? This new edition includes extracts from James's Prefaces and Notebooks which shed light on the genesis of the stories.
Book chapters on the topic "He-Man figures"
1
Evans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer, 117–64. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.
Full textAbstract:
Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
2
Stray, Christopher. "From Bath to Cambridge: The Early Life and Education of Robert Leslie Ellis." In Studies in History and Philosophy of Science, 3–19. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85258-0_1.
Full textAbstract:
AbstractRobert Leslie Ellis was born in Bath on 25 August 1817. His father, Francis Ellis (1772–1842), had held a position in the Admiralty, but resigned when he became the principal heir of his uncle Henry Ellis, formerly Governor of Nova Scotia, who on his death in 1806 left him £10,000 and extensive landholdings in Ireland and elsewhere. Francis and his wife Mary, née Kilbee (1777–1847), had six children, of whom Robert, born in 1817, was the youngest. The family lived in a succession of large houses in Bath, where Francis Ellis, a well-known local figure, was one of the founders of the Bath Literary and Scientific Institution, founded in 1823. The Institution had a well-stocked library which took in both British and continental books and periodicals, and the teenaged Ellis frequented it regularly, reading avidly and conversing with the adult members, who included scholars and scientists of some distinction. His father involved himself in Ellis’s education and was himself a well-educated and inquiring man; his uncle had described him as ‘really a very deserving young man of uncommon abilities and possessed of more scientific and other knowledge than [one] could expect at his years.’ In an account of the Bath literati published in 1854, Francis Ellis was included in a list of ‘men with intelligent and well-informed minds’, and a later supplement stated that ‘Francis Ellis had an enlarged mind, was a good classic, a superior mathematician, and a generally well-informed man’. Ellis’s library contained several hundred books in 1841, when an inventory was taken.
3
James, Henry. "IV." In The Ambassadors. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199538546.003.0042.
Full textAbstract:
What he saw was exactly the right thing—a boat advancing round the bend and containing a man who held the paddles and a lady, at the stern, with a pink parasol. It was suddenly as if these figures, or something like them, had been...
4
Milewska, Marta. "Aleksander Maciesza – lekarz (nie)zwyczajny." In Życie prywatne Polaków w XIX wieku. „O mężczyźnie (nie)zwyczajnie”. Wydawnictwo Uniwersytetu Łódzkiego, Instytut Historii i Stosunków Międzynarodowych UWM, 2019. http://dx.doi.org/10.18778/8142-731-9.07.
Full textAbstract:
Aleksander Maciesza was the son of Siberian exiles. At present, he is counted among the most outstanding figures of Płock in the 20th century. He was a doctor by profession, but his knowledge and interests went beyond the learned medical view. Aleksander Maciesza was not only a well-known doctor, an outstanding ophthalmologist, a lover of science and anthropology, but also a social activist, local government activist, anthropologist, archeologist, photographer, but most of all he was a man of great passion for exploration. He was remembered, by the inhabitants of Płock, as a long-term president of the Płock Scientific Society, the mayor of Płock and the president of Płock in the beginning of the Second Polish Republic. His contributions to science and the city of Płock and its residents make him an extraordinary doctor, but above all an extraordinary man.
5
Worden, Blair. "Hugh Redwald Trevor-Roper 1914–2003." In Proceedings of the British Academy, Volume 150 Biographical Memoirs of Fellows, VI. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264232.003.0012.
Full textAbstract:
Hugh Redwald Trevor-Roper has been called both a Whig and a Tory historian, a distinction he shares, perhaps fittingly, with Hume. He was a Whig insofar as he believed in a plural, liberal society, in constitutional checks and balances, and in social counterweights to centres of power. He was a Tory insofar as he recognised the power of traditional institutions, if they are kept up to the mark, to channel constructive human characteristics and restrain destructive ones. However, neither the Whig nor the Tory label, nor any other, captures Trevor-Roper's idiosyncratic essence. In everything he was his own man. The historians of Trevor-Roper's own time whom he most admired were not the panjandrums of the academic community but figures eccentric to it, whom he discovered for himself: above all Gerald Brenan and Frances Yates, neither of whom had been trained as a historian.
6
Cotton, Parker. "Curious, Useful and Important: Bayle’s ‘Hermaphrodites’ as Figures of Theological Inquiry." In Exceptional Bodies in Early Modern Culture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721745_ch05.
Full textAbstract:
This essay examines Pierre Bayle’s use of the hermaphrodite figure in his Dictionnaire. Bayle repeatedly connects the hermaphrodite to mythic tales and language, rather than engaging ‘real’ accounts of intersexed persons. Bayle’s hermaphrodite functions as an entry point into theological discussions of sin and leads his readers across articles considering a hermaphroditic first man (‘Adam’) and the potential for humans unmarred by sin (‘Sadeur’). The hermaphrodite is employed as a sceptical figure to aid in raising questions and becomes part of a larger Baylean challenge to a dogmatic and rigid theology of the age. Bayle’s hermaphrodite articles and the questions of human nature he raises within them demonstrate how discussions of exceptional bodies contribute to ongoing theological debates in the early modern period.
7
Sundquist, Eric J. "Ralph Ellison in His Labyrinth." In The New Territory. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806796.003.0006.
Full textAbstract:
Eric Sundquist’s “Ellison in His Labyrinth” focuses on the elusive figure of Bliss and his descent from Bliss Proteus Rinehart in Invisible Man through his many incarnations in Three Days. He views Bliss as a version of R.W.B. Lewis’s American Adam. Yet, unlike the Proteus of Homer’s Odyssey, who served as Ellison’s prototype of the American novelist, Bliss cannot be grappled into submission. Surveying the signifying characters and verbal artists in Three Days, Sundquist argues for the Janus nature of Bliss/Sunraider—making him representative of the nation itself and placing the figure in the genealogy of signifying tricksters at the crossroads of time, from Oedipus to Louis Armstrong and ultimately Ellison himself. Reading the second novel through the lenses of Ellison’s essays, Sundquist examines Ellison’s use of the Icarus myth in Three Days, concluding that the trickster figures are all avatars of Sunraider himself, constituting a mystery of identity and history.
8
Hazlitt, William. "My First Acquaintance with Poets." In The Spirit of Controversy, edited by Jon Mee and James Grande. Oxford University Press, 2021. http://dx.doi.org/10.1093/owc/9780199591954.003.0025.
Full textAbstract:
My father was a Dissenting Minister at W — m* in Shropshire; and in the year 1798 (the figures that compose that date are to me like the ‘dreaded name of Demogorgon’*) Mr. Coleridge came to Shrewsbury, to succeed Mr. Rowe* in the spiritual charge of a Unitarian Congregation there. He did not come till late on the Saturday afternoon before he was to preach; and Mr. Rowe, who himself went down to the coach in a state of anxiety and expectation, to look for the arrival of his successor, could find no one at all answering the description but a round-faced man in a short black coat (like a shooting-jacket) which hardly seemed to have been made for him, but who seemed to be talking at a great rate to his fellow-passengers. Mr. Rowe had scarce returned to give an account of his disappointment, when the round-faced man in black entered, and dissipated all doubts on the subject, by beginning to talk.
9
Bagneris, Mia L. "Introduction." In Colouring the Caribbean. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526120458.003.0001.
Full textAbstract:
July 2007, Yale Center for British Art – reflections on Agostino Brunias’s A Planter and his Wife (fig. 1) … The painting is relatively small – about 12 x 10 inches – and a wonderfully exquisite little gem, its bright gold frame setting off the work of a talented colourist. Pristine whites and vivid pale blues are punctuated with punches of coral red; deep greens and rich ochres define the landscape. In the background are all the hallmarks of an idyllic island day; under a perfect canopy of blue sky and fluffy white clouds, a pair of palm trees rise in the right margin of the picture, nestled against the calm, crystal waters of the Caribbean Sea. However, in the midst of this quintessential tropical splendour, two figures in the foreground, a man and a woman, command the viewer’s immediate attention. Although he is dressed to beat the heat, the man manages to cut an impressive figure in long white trousers, white shirt, and white waistcoat – all immaculately spotless. He accessorises the outfit with black cravat, black shoes with silver buckles, and a long mustard-coloured dress coat with shiny gold buttons, completing the ensemble with a black ‘planter’s hat’. Surely his elegant dress demonstrates his wealth and status, but not so much as his pose, for the artist has frozen him in a perpetual state of showing off; his outstretched arm gestures towards the splendid natural beauty all around him as he turns his face to the lady at his side in a move that silently proclaims his ownership of all that surrounds them....
10
De Corte, Pieter. "Psychology of the Underground: Nietzsche, Dostoevsky and the Issue of Nihilism." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 234–52. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-234-252.
Full textAbstract:
It is in the winter of 1886–1887, in a Nice bookshop, that Friedrich Nietzsche discovered the first French edition of Dostoevsky’s Notes from Underground, translated as L’esprit souterrain by Ilia Halpérine-Kaminsky and the French poet Charles Morice. It was through this hazardous encounter that Nietzsche first came under the spell of Dostoevsky, “the only psychologist,” he writes, “from which I had anything to learn”. This insistence on the psychological insights of the Russian writer is indeed a fundamental element of Nietzsche’s reading of Dostoevsky, which is very much fixated on the Dostoevskian figure of the “underground man”, but also on the nihilistic figures encountered in The Demons and on the rough Siberian convicts living in the House of the Dead. Nietzsche’s “psychology of the underground”, and his reflections on the nature of European nihilism, could thus have been influenced, during the last two years of his conscious life, by his reading of Dostoevsky. While doing justice to this influence, we will however try to highlight the deep differences which lead these two acute observers of contemporary nihilism to defend, in response to the malaise of the underground man, fundamentally different attitudes: “Dionysos against the Crucified…”.
Conference papers on the topic "He-Man figures"
1
Ramos, Lilian de Sá Paz, Juliana Almeida Frank, Suzana Imbassahy de Sá Bittencourt Câmara e. Silva, and Diogo Silva Almeida. "POROCARCINOMA IN MALE BREAST." In Scientifc papers of XXIII Brazilian Breast Congress - 2021. Mastology, 2021. http://dx.doi.org/10.29289/259453942021v31s1078.
Full textAbstract:
Introduction: Porocarcinoma (PC) is a malignant neoplasm of the eccrine sweat glands, corresponding to 0.005% to 0.001% of skin tumors. There are reports of only two cases with primary localization on the breast from a total of 206 cases of pororcarcinoma according to a systematic review conducted by Nazeemi et al. (2018), from 1963 to 2017. The most common anatomical locations are the lower limbs, the head and the neck. This pathology affects elderly individuals and has a similar incidence among genders. This malignant neoplasm usually presents as a single nodule or a plaque with a verrucous or ulcerated surface, sometimes there is a long history of evolution. The most common site of metastases is regional lymph nodes. The pathogenesis of PC is uncertain. This neoplasm originates from the terminal cells of the intradermal segment of the sweat gland called acrosyringeum. In the histological study, the porocacinoma cells may be restricted in the epidermis or infiltrate the entire dermis, the epithelial proliferation of intradermal tumor cells in nests causes acanthosis of the epidermis and hyperkeratosis, cords and polygonal tumor cells proliferate in the dermis with figures of mitosis and areas of necrosis, often ductal differentiation with intracytoplasmic lumina. Immunohistochemical shows positivity for carcinoembryonic antigen (CEA), cytokeratin (CK), pancytokeratin and CK5/6, epithelial membrane antigen (EMA), p53, p63 and CD117. The main treatment is local resection with margins. Sentinel lymph node biopsy can be considered for patients without palpable ganglion, and the performing axillary lymphadenectomy in the context of regional lymphadenopathy. Adjuvant chemotherapy and radiotherapy can be performed in cases of metastatic PC and local recurrence. Case report: An 82-year-old man presenting with a skin lesion on his right breast with progressive growth, associated with local discomfort and bleeding over two years. He presented a large vegetative, hyperchromic, ulcerated bleeding and painless tumor in the right breast, with an extension beyond the inframammary fold, measuring about 8 cm in diameter and ipsilateral axillary lymphadenopathy. No evidence of metastasis on chest and in abdominal tomography. The incisional biopsy showed porocarcinoma, the surgical treatment performfed was mastectomy and axillary lymphadenectomy. The histological study revealed an undifferentiated keratinizing carcinoma of the skin, infiltrating the mammary parenchyma, associated with angiolymphatic infiltration and the presence of necrosis and ulceration with free margins, in addition to two metastatic axillary lymph nodes. An immunohistochemical analysis revealed positive cells for EMA, p63, CKAE1AE3 and a K167 proliferation index of 60% confirming the diagnosis of pororcarcinoma. Local treatment was supplemented with adjuvant radiotherapy
2
Ferrari, Ambra, and Paolo Soraci. "Ludonarrative Dissonance in The Last of Us Part II: Attempting to Create Empathy with a Villain." In 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002709.
Full textAbstract:
In Story-based videogames, the Author has an intended story he wishes to communicate to the player and carefully constructs it to arouse specific sentiments, such as empathy towards characters, which support the development of the narrative as he had imagined it. However, the main obstacle of interactive narratives is reconciling intended storylines with the players’ always unique sense-making of the narrated events. In this paper, we investigate this matter by analyzing the post-apocalyptic videogame The Last of Us Part II (Naughty Dog, 2020). The plot unexpectedly sees Joel, the main character of the first installment and fatherly figure to co-protagonist young woman Ellie, killed by a woman named Abby under Ellie’s eyes. After the murder, players suddenly switch from controlling Ellie to playing as Abby for a long section of the game, with the authorial intent to show them her side of the story. After about 10 hours, the game reaches a climax in which the player is forced to attempt to kill Ellie while still controlling Abby.This videogame is particularly interesting in the attempt of creating empathy towards videogames characters, as the intended target of the sympathy (i.e., Abby) was initially introduced as a villain in the story. To study this matter in-depth, we have selected the three most viewed gameplay videos on YouTube commented by English-speaking players and the three most viewed commented by Italian speakers. Successively, performance and discourse analysis were performed on the gameplay sections immediately before and during the climax. We have independently analyzed the six videos and identified shared recurring themes.In the section before the climax, players are shown the bodies of Abby’s friends killed by Ellie: a dog, a man, and a pregnant woman. Remorse was often demonstrated by players at the sight of the dog’s body, yet some players justified the human killings. Interestingly, five out of six players manifested their dissent with the authorial choice of the climax, verbally and physically refusing to harm Ellie. Most players across the two languages engaged in verbal protests and self-sabotage, such as intentionally running out of ammunition, making noise to be discovered by Ellie, and ultimately and deliberately seeking death as Abby, leading to multiple intentional game overs. Besides, most players praised Ellie and her craftiness, skill, and speed. This indicates that these players’ empathy towards Abby, however present to some extent, was apparently not strong enough to justify killing Ellie.These results give relevant insights about storytelling in videogames and the creation of empathy, underlining the importance of discriminating between the creation of cognitive and emotional empathy. That is, even though players cognitively commiserated Abby because of the suffering she endured, they were apparently too emotionally attached to Ellie to let this feeling prevail. Finally, the climax section can act as a starting point for an interesting discourse related to breaking the contract between an author unintentionally disincentivizing the player to do well and a player who refuses to play according to the rules.