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Journal articles on the topic 'Madonna Madonna Madonna Madonna Image'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Kudlová, Klára. "On Fields of Bones, Headsmen and Madonnas: The Symbols and Figures of Central Europe in the Past 25 Years of Jáchym Topol’s Writing." Porównania 27, no. 2 (December 15, 2020): 247–63. http://dx.doi.org/10.14746/por.2020.2.13.

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In the Czech literary scene, it is Jáchym Topol who may justly be labelled the author most consumed with Central Europe, one who is constantly attempting to decrypt the message encoded in its scars and wrinkles. His fictional treatment of Central-European themes is preceded by thorough knowledge of both the history and present state of the region. However, Topol is not merely a historian; in his fictionalising he uses a poetic, complex perspective, and arrives thus at a unique expression. Particular recurring figures in his literary work seem to answer in a riddle the questions of present-day Central Europe. First one of those is the biblical image of the field or of the pile of bones. In Topol’s writing, it represents both the systematic violence in Central-European history, and universal onus. The second recurring figure is the figure of a good-hearted headsman. In Topol’s prosaic and dramatic texts, the headsman embodies the ambivalence of the Czech national character, but also its survival strategies. It is intertextually linked to the works of Jaroslav Hašek, and brings the notion “Czechs are a Švejk-like nation” to its absurd, augmented consequences. The third figure which keeps returning in Topol’s work combines the features of a character and of a symbol. It is the figure of Madonna, representing the spiritual dimension of Central European tradition, bound to Christianity. The various Madonnas—the Polish Madonna of Częstochowa, the War Madonna in fictionalised modern-day Russia and eventually the Czech Madonna of Poříčí create the Christian counterworld in Topol’s novels, and signalize the persistent role and presence of spirituality in the region. In Topol’s novel Citlivý člověk it is actually thanks to this Madonna that the whole discourse opens to a new type of perspective.

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2

Watts, Mark. "Electrifying Fragments: Madonna and Postmodern Performance." New Theatre Quarterly 12, no. 46 (May 1996): 99–107. http://dx.doi.org/10.1017/s0266464x00009921.

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The rise and (perceived) decline of Madonna has gone, so to say, hand-in-hand with that of postmodern theory – slightlydémodéjust at present, but none the less pervasively influential for that. The singer's two most recent albums were critical successes, and the controversy in Argentina over the choice of the star to play Eva Peron testifies to her continuing capacity to attract notoriety. But in what does that notoriety consist? How is the persona that is all we know of Madonna constructed, and how does it work? How is she able to make such distinctive use of the emergent potential of multimedia? What constitutes thecoherenceof Madonna's image? Mark Watts, a graduate in Film and Literature of the University of Warwick, here analyzes the appeal of the singer-actress in terms of the concept ofpunctum, defined by Barthes (in opposition to the rational, linear understanding ofstudium) as the ‘electrifying fragment’ that seizes and ravishes the imagination.

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3

Qyll, Nicholas. "Persona as Key Component in (Cultural) Person Branding." Persona Studies 6, no. 1 (December 11, 2020): 56–71. http://dx.doi.org/10.21153/psj2020vol6no1art941.

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This article examines the elements and processes involved in the visual construction of person brands, and their personas as key components of those brands, in pursuit of the research question: What pictorial design strategies make person brands succeed? Key findings of the empirical investigation of the iconic artist brand Madonna allow a focus on Madonna’s image and her fans’ co-creative image practice through a visual frame analysis and cultural reading of her self-brand. Madonna has created a complex ‘worldview world’ that is governed by a metanarrative and feeds on the diverse acts of referencing cultural image icons. At the same time, central strategies of her image representations are reflected in the fan artefacts investigated. This article thus focuses not only on the role of the visual in person branding and in a modern-day visual brand culture. It also considers the place and form of such cultural person branding within the persona studies field.

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4

Haug, Steven. "A Discussion on Heidegger’s “Über die Sixtina”." Philosophy Today 64, no. 3 (2020): 781–91. http://dx.doi.org/10.5840/philtoday2020109359.

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In 1955, Raphael’s Sistine Madonna was returned to Germany following its removal from Dresden in anticipation of the city being bombed. That same year Heidegger wrote a short paper titled “Über die Sixtina,” likely to commemorate the painting’s return. The goal of this article is to bring the largely overlooked “Über die Sixtina” into discussions about Heidegger’s philosophy of art. While brief, Heidegger’s paper makes clear that the Sistine Madonna is an important work to consider when deliberating about his philosophy of art in general. This article elaborates on the topics Heidegger discusses in “Über die Sixtina,” particularly the image-being of the Sistine Madonna, the image as a window painting, and the place of the painting.

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5

Fredrickson, Regina. "Marian Images: Madonna and Hodigitria." Journal of Religion and Health 43, no. 2 (2004): 151–63. http://dx.doi.org/10.1023/b:jorh.0000022400.50286.e7.

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6

Samardžić, Ana. "From Madonna to Madonna: Image of pregnant woman in art from Christian tradition to pop culture." Kultura, no. 167 (2020): 288–317. http://dx.doi.org/10.5937/kultura2067288s.

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7

Lampe, Samantha. "‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 321–30. http://dx.doi.org/10.1386/smt_00045_1.

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As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.

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8

Hu, Alice Joan. "Madonna in flower garlands in Flemish painting of the XVII century." Культура и искусство, no. 7 (July 2021): 66–80. http://dx.doi.org/10.7256/2454-0625.2021.7.33907.

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The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.

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9

de Klerck, Bram, Machtelt Israëls, and Machtelt Israels. "Sassetta's Madonna della neve: An Image of Patronage." Simiolus: Netherlands Quarterly for the History of Art 31, no. 1/2 (2004): 108. http://dx.doi.org/10.2307/4150580.

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10

Wolff, Martha, and Dieric Bouts. "An Image of Compassion: Dieric Bouts's "Sorrowing Madonna"." Art Institute of Chicago Museum Studies 15, no. 2 (1989): 112. http://dx.doi.org/10.2307/4113016.

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11

Park, Young-Jin, and Eun-Hyuk Yim. "Semiotic Analysis and Myth Studies of Madonna Fashion Images -A View Fashion Image from the Year of 2005 to 2011-." Journal of the Korean Society of Clothing and Textiles 35, no. 10 (October 31, 2011): 1161–74. http://dx.doi.org/10.5850/jksct.2011.35.10.1161.

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12

Marino, Elisabetta. "The Black Madonna in the Italian American Artistic Imagination." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 37–56. http://dx.doi.org/10.4312/an.50.1-2.37-56.

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This essay sets out to explore the image of the black Madonna in Italian American artistic and literary expressions, providing thought-provoking examples of how this holy icon of universal motherhood has been persistently associated with the articulation of empowering strategies, with antagonism towards any kind of patriarchal restraints, with the healing of deeply ingrained divisions (of gender, class, ethnicity), and with the celebration of diversity in unity.

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13

周, 必正. "The Image of the Madonna in Zhong Xiaoyang’s Short Stories." World Literature Studies 08, no. 01 (2020): 8–12. http://dx.doi.org/10.12677/wls.2020.81002.

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14

Tsuji, Teruyuki. "The Power of the Illegitimate." New West Indian Guide / Nieuwe West-Indische Gids 94, no. 3-4 (November 25, 2020): 211–44. http://dx.doi.org/10.1163/22134360-bja10006.

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Abstract Based on archival research and supplemented by ethnographic observations, this article critically revisits the history of La Divina Pastora, the Madonna of Spanish origin, in colonial Trinidad, focusing on how the spirituality and materiality of two statues of this Marian image intersected, competed, and reinforced each other: a fair-complexioned La Divina Pastora in northern Trinidad, created and patronized by the Catholic central authorities; and a dark-skinned, miracle-working La Divin/Sipari Mai in Siparia, formerly a peripheral Spanish mission in southern Trinidad. Tracing the trajectory of their lives and relations reveals the complexities of the ecclesiastical history of Trinidad, unearthing the contradictions and tensions between the patriarchal making and remaking of religious orthodoxy and the popular praxis of faith for day-to-day substantive issues needing medico-spiritual solutions. Unlike extant studies, addressing the two distinct statues representing the same Marian image, this article utilizes a holistic approach in order to appreciate why and how the Madonna at Siparia emerged, survived, and thrived as a shared empowering object, despite the colonial obsession with racial-cultural purity and regimes of the boundaries of belonging. The conflicts among the Christian communities were intertwined and thwarted the Catholic central authority’s attempts to exploit La Divin/Sipari Mai’s transgressive power to attract Hindus to the Church. The tangled conflicts also created conditions in which Hindu supplications for miraculous cures persisted and thrived, despite discrimination and repression by the Catholic authorities. The incessant interactions between Catholics and Hindu devotees in Siparia led to the combination of their originally divergent practices and worldviews and the transformation of the dark-colored Madonna from La Divina Pastora to La Divin/Sipari Mai, an alternative spiritual construction that represented various maternal/female bodies, each conforming to distinct religious traditions.

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15

Krycka-Michnowska, Iwona. "Dekadencka Madonna, Biała Diablica, Lorelei... Zinaida Gippius w egodokumentach współczesnych." Studia Interkulturowe Europy Środkowo-Wschodniej 10 (November 15, 2017): 112–26. http://dx.doi.org/10.5604/01.3001.0010.5756.

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The paper is devoted to Zinaida Gippius’s literary portraits left on the pages of ego-documents, especially memoirs. She was one of the most significant figures of the Russian Silver Age. At the end of the 19th and the beginning of the 20th centuries, the writer created her own legend and image based on internal conflict, which in turn influenced the diversity of her portraits in memoirs. Their analysis leads to the conclusion that these portraits fit into the stereotyped, ambivalent perception of a woman, and majority of the authors reveal the tendency to mythologize and dehumanize her heroine: on the one hand her divinization, and on the other – reification. It also proves that the memoirist had perpetuated and widened the legend about her.

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16

Jr., Ted Hovet, and John Gatta. "American Madonna: Images of the Divine Women in Literary Culture." American Literature 70, no. 4 (December 1998): 919. http://dx.doi.org/10.2307/2902412.

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17

Häger, Andreas. "Like a Prophet - On Christian Interpretations of a Madonna Video." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 151–74. http://dx.doi.org/10.30674/scripta.67227.

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Throughout the history of Christianity, its relationship to art has been a complicated one, concerning the use of art in worship as well as the views on "secular" art. This article deals with a current example of the latter. More specifically, the article examines some examples of Christian views on popular music. The best-known reactions to pop and rock music' by Christians are likely to be negative ones, probably because these are usually the most loudly declared. But there is also another aspect to the Christian discourse on popular music. Some Christians try to emphasise what is perceived as a positive message in "secular" rock music. This part of the debate is the main concern in this paper.The examples used deal with one of the most controversial pop artists, Madonna, and one of her most discussed works, the video `Like a Prayer'. Madonna Louise Ciccone, born 1958, has been one of the most successful, most imitated and certainly most talked about popular artists of the past decade. She has — at least to a certain degree quite consciously — stirred up controversy with several of her videos. Raised a Catholic, her use of religious themes and images is one aspect that has caught special attention.

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18

BROEK, MICHAEL. "Hawthorne, Madonna, and Lady Gaga: The Marble Faun's Transgressive Miriam." Journal of American Studies 46, no. 3 (March 12, 2012): 625–40. http://dx.doi.org/10.1017/s0021875812000047.

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AbstractMost criticism of Nathaniel Hawthorne's Novel The Marble Faun has focussed on its many images of domestic containment, its supposed argument in favor of Christian idealism, as well as Hawthorne's apparent “castration” of the American sculptor Kenyon – just another in a long list of the author's male protagonists who succumb to a mixture of self-doubt (Dimmesdale, in The Scarlet Letter), narcissism (Coverdale, in The Blithedale Romance), and the allure of the chaste virgin (Holgrave, in The House of the Seven Gables). This essay, however, argues that Miriam, the novel's chief female protagonist, actually completes a complicated “liberation” from the proscriptions (as Hawthorne envisioned them) of her gender, enacted by her embrace of multiple, ancient, and organic symbols. Through a simultaneous analysis of the American music icons Madonna and Lady Gaga, we find that Hawthorne engages a complex set of ideational forces – misogyny, Catholicism, and female eros – as Miriam emerges, like these famous pop stars, as an independent artist, a position that not one of the author's male protagomists is able to attain. In this sense, Miriam may be reconsidered Hawthorne's internationalized Hester, or, more aptly, his mature Pearl.

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19

McCall, Timothy. "Bramante'scoro finto, Ex-Votos, and Cult Practice in Sforza Milan." Renaissance Quarterly 72, no. 1 (2019): 1–53. http://dx.doi.org/10.1017/rqx.2018.5.

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Bramante's illusionistic apse for Santa Maria presso San Satiro in Milan has long been understood as a triumph of Renaissance rationality. This essay shifts attention to the votive and cult contexts of the space and the miraculous image it enshrines. Thecoro fintoefficaciously enhanced the authority of the Madonna and her sponsors—the Sforza dynasty and a confraternity dedicated to the Virgin—by dramatically framing and amplifying the image's potency. Santa Maria presso San Satiro thus flourished as one of Milan's most intensely contested ecclesiastical arenas, in which devotees and institutions maneuvered for access to the potent cult image.

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20

Pushkareva, Y. E. "ITALIAN PAINTING IN THE CREATIVITY OF V. F. ODOEVSKY: THE IMAGE OF MADONNA." Tomsk state pedagogical university bulletin, no. 7 (2017): 134–39. http://dx.doi.org/10.23951/1609-624x-2017-7-134-139.

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21

Massam, Katharine. "Representing active discipleship: Images of the Madonna in twentieth‐century Australia*." Australian Feminist Studies 13, no. 28 (October 1998): 235–49. http://dx.doi.org/10.1080/08164649.1998.9994912.

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22

Anderson, Karrin Vasby. "Hillary Rodham Clinton as “Madonna”: The Role of Metaphor and Oxymoron in Image Restoration." Women's Studies in Communication 25, no. 1 (April 2002): 1–24. http://dx.doi.org/10.1080/07491409.2002.10162439.

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23

Schwartz, Joseph. "Book Review: American Madonna: Images of the Divine Woman in American Literary Culture." Christianity & Literature 48, no. 1 (December 1998): 116–19. http://dx.doi.org/10.1177/014833319804800116.

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24

Balash, Alexandra N. "«THE IMAGE WANDERS IN THE FOREING LAND»: RAPHAEL’S "SISTINE MADONNA" IN RUSSIAN CULTURE OF XX CENTURY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 20(4) (December 1, 2015): 5–13. http://dx.doi.org/10.17223/22220836/20/1.

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25

Cann, George H., Anthony Bourached, Ryan-Rhys Griffths, and David G. Stork. "Resolution enhancement in the recovery of underdrawings via style transfer by generative adversarial deep neural networks." Electronic Imaging 2021, no. 14 (January 18, 2021): 17–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-017.

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We apply generative adversarial convolutional neural networks to the problem of style transfer to underdrawings and ghost-images in x-rays of fine art paintings with a special focus on enhancing their spatial resolution. We build upon a neural architecture developed for the related problem of synthesizing high-resolution photo-realistic image from semantic label maps. Our neural architecture achieves high resolution through a hierarchy of generators and discriminator sub-networks, working throughout a range of spatial resolutions. This coarse-to-fine generator architecture can increase the effective resolution by a factor of eight in each spatial direction, or an overall increase in number of pixels by a factor of 64. We also show that even just a few examples of human-generated image segmentations can greatly improve—qualitatively and quantitatively—the generated images. We demonstrate our method on works such as Leonardo’s Madonna of the carnation and the underdrawing in his Virgin of the rocks, which pose several special problems in style transfer, including the paucity of representative works from which to learn and transfer style information.

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26

Gilley, Sheridan. "Victorian Feminism and Catholic Art: the Case of Mrs Jameson." Studies in Church History 28 (1992): 381–91. http://dx.doi.org/10.1017/s0424208400012572.

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Now Church History’, wrote John Henry Newman in 1843, ‘is made up of these three elements—miracles, monkery, Popery’, so that anyone sympathetic to the subject must sympathize with these. Much the same, however, could be said of Christian art. The young Southey on a visit to Madrid stood incredulous before a series of paintings depicting the life of St Francis. ‘I do not remember ever to have been so gready astonished’, he recalled. ‘“Do they really believe all this, Sir?” said I to my companion. “Yes, and a great deal more of the same kind”, was. the reply.’ The paradox was that works of genius served the ends of a drivelling superstition, a dilemma resolved in the 1830s by the young Augustus Pugin, who decided that the creation of decent Christian architecture presupposed the profession of Catholic Christianity. The old Protestant hostility to graven images was in part a revulsion from that idolatrous popish veneration of the Virgin and saints which had inspired frescos, statues, and altar-pieces in churches and monasteries throughout Catholic Europe; but what on earth did a modern educated Protestant make of the endless Madonnas, monks, and miracles adorning the buildings which he was expected as a man of cultivation to admire? At the very least, he required a sympathetic instruction in the meaning of the iconography before his eyes, and some guidance about its relation to the rest of what he believed. The great intermediary in this process was Ruskin; but there was at least one odier interpreter of Catholic art celebrated in her day, Mrs Anna Brownell Jameson, whose most popular works, Sacred and Legendary Art, Legends of the Monastic Orders, and Legends of the Madonna, told the Englishman what he could safely think and feel amid the alien aesthetic allurements of Catholicism.

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27

Dunlop, A. "Flesh And The Feminine: Early-Renaissance Images Of The Madonna With Eve At Her Feet." Oxford Art Journal 25, no. 2 (January 1, 2002): 127–47. http://dx.doi.org/10.1093/oxartj/25.2.127.

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Bynum, Caroline Walker. "The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg." Renaissance Quarterly 39, no. 3 (1986): 399–439. http://dx.doi.org/10.2307/2862038.

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Most of us who inhabit the western, post-Christian world are so accustomed to pictures of the Madonna and child or of the Holy Family that we hardly notice the details. When we encounter such images in museums, on posters, or on Christmas cards, we tend to respond sentimentally if at all. We note whether the baby looks like a baby or not. We are pleased if the figures appear happy and affectionate. Perhaps we even feel gratitude for the somewhat banal support of an institution—the human family—that seems worn a little thin in the modern world. But we are not shocked. Recognizing that the Incarnation is a central Christian tenet, we feel no surprise that Christian artists throughout the western tradition should have painted God as a male baby.

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Banks, Jack. "Video in the machine: the incorporation of music video into the recording industry." Popular Music 16, no. 3 (October 1997): 293–309. http://dx.doi.org/10.1017/s0261143000008424.

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Music video has become an increasingly integral component of the music recording business over the past three decades. Major US record companies with international divisions have made music clips since the 1970s to promote their acts in the UK and continental Europe where television shows were a more important form of promotion for recording artists. However, record labels did not make a full commitment to music clips until after the premiere of MTV in August 1981 as a 24-hour US cable programme service presenting an endless stream of music videos. As MTV's popularity blossomed in the early 1980s, music video revitalised a troubled record industry suffering a prolonged recession by prompting renewed consumer interest in pop music and successfully developing several new recording acts like Madonna, Cyndi Lauper and Boy George with provocative visual images.

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Moon, Set-Byul. "Rejecting the Culture of True Womanhood and the Image of the Black Madonna in Nella Larsen’s Quicksand and Passing." Journal of Modern British & American Language & Literature 35, no. 1 (February 28, 2017): 69. http://dx.doi.org/10.21084/jmball.2017.02.35.1.69.

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von Veh, Karen. "Contemporary Iconoclasm in South Africa. Transgressive Images of the Madonna and Christ in Response to Social Politics." IKON 9 (January 2016): 355–62. http://dx.doi.org/10.1484/j.ikon.4.00031.

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32

Morrison, Wayne. "‘YESTERDAY, I SAW A RABBIT!’: UNLEARNT LESSONS FROM THE NOMOS OF THE HOLOCAUST FOR CRIMINOLOGY, OR WHY SOME PRINCIPLES FROM ANARCHISM MAY TRUMP SOVEREIGNTY IN COMBATING GENOCIDE." Revista Eletrônica do Curso de Direito da UFSM 14, no. 1 (May 10, 2019): 38100. http://dx.doi.org/10.5902/1981369438100.

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A criminologia tradicional responde à soberania e trabalha em defesa da ordem social, de modo que obediência ao Estado é a norma, e anarquismo é o inimigo. Mas o genocídio, como no Holocausto, apresenta um terreno diferente. Esse artigo olha para os atos e julgamentos de, respectivamente, Otto Ohlendorf e Julius Schmahling através do nomos nazista. A teoria criminológica deve estar viva, humana e particular, mas ciente de sua situação no mundo, de modo que o artigo se une à escritora judia brasileira Clarice Lispector para colocar um cachorro (ou dois) para encontrar a visão do coelho que perseguiu Julius Schmahling e, assim o fazendo, questionar sobre a pedagogia do que é e/ou deveria ser a Criminologia. Se isso parece historicamente concentrado, o final nos retorna ao presente, um tempo onde terroristas clamam por lutar guerras globais em nome da pureza e da segurança, seguindo credos interpretativos não diferentes de Ohlendorf, sendo a imagem final contra soberana a da Madonna Negra.

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Perez, Elizabeth. "THE VIRGIN IN THE MIRROR: READING IMAGES OF A BLACK MADONNA THROUGH THE LENS OF AFRO-CUBAN WOMEN’S EXPERIENCES." Journal of African American History 95, no. 2 (April 2010): 202–28. http://dx.doi.org/10.5323/jafriamerhist.95.2.0202.

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Moscal, Dinu. "„Pal/ palid” ca epitet metaforic în poezia lui Eminescu / „Pale/ pallid” as metaphorical epithet in Eminescu’s poetry." Swedish Journal of Romanian Studies 3, no. 1 (April 17, 2020): 51–63. http://dx.doi.org/10.35824/sjrs.v3i1.20413.

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The epithets pal “pale” and palid “pallid” could have been linked here by a conjunction. Instead, they are placed at the same level (pal/ palid) because of their semantic identity in Eminescu’s lyrics. Their importance has been already highlighted by several critics, and especially by I. Negoițescu, who referred to the epithets of pallor as a symbol, and systematically returned to them. By simply identifying these epithets with death or the myth of death, with the angelic purity, but also with the purity of the demon, within expressions such as androginie difuză a morții “diffuse androgyny of death” and demonul palorii “the demon of pallor”, there is no poetic symbol, but only a vague image. Associating these adjectives with characters such as the Poet, the Monarch, the Sleep and the Demiurge, usually at an intuitive level, does not reveal the intended meaning. These epithets appear in Eminescu’s poetry with non-metaphorical meaning as well, that is with denotative or connotative meaning. Instead, the metaphorical meaning belongs to the extra-existential world. The strong occurrence of these adjectives in Mortua est! and the debates around them within this poem since its first publication focused the attention not only to the final version of the text but also to its variants. Pal/ palid does not have a unique meaning in this poem, but we may assume that the connotative meaning is not transcended in any of its versions, including the last one. As a metaphorical epithet, pal/ palid is associated with the lyrical creation as act and as purpose, as well as with the pure ideal which is situated outside the dichotomy of life–death (being–non-being), either as a reality of the poetic thought or as a mythical reality. The poems in which pal/ palid carries this metaphorical meaning are: Venere și Madonă/ Venus and Madonna, Epigonii/ The Epigons, Luceafărul/ The evening star, Povestea magului călător în stele/ The story of the magician who travels to the stars, Mureșanu. Tablou dramatic/ Mureșanu. Dramatic tableau and Memento mori. The metaphorical ʻextra-existential’ meaning differs from any concept of overcoming the antagonism being–non-being which is highly represented in Eminescu’s poetry. It supposes placement outside this antagonism.

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PACE, MATTEO. "UT ANIMALIUM PICTURA: ARISTOTLE'S HEART IN THE POETRY OF GIACOMO DA LENTINI." Traditio 75 (2020): 225–51. http://dx.doi.org/10.1017/tdo.2020.8.

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The essay analyzes the formation of the oft-cited trope of the image engraved (or painted) in the heart, topical in the Sicilian lyric of the thirteenth century, and the ways in which it re-discusses a painstaking issue of Aristotelian physiology. The trope of the “pintura nel core” (figure in the heart), as described in Giacomo da Lentini's Meravigliosa⋅mente and Madonna mia, a voi mando, is immediately assimilated to the faculty of memory, and the human ability to represent external reality by means of signa. This process of formation that happens in the heart and allows the poet to fall in love is reworked in the image of the “pintura” carved like a seal into wax. The lexical choices of Giacomo's poems point to an Aristotelian understanding of sense perception, centered around the key role of the heart, dependent upon the fluidity of its bodily part, and resulting in an internal representation of phenomenal reality. The link between love lyric poetry and physiological learning shows the interdependence of these two fields of medieval culture, and the ways in which a debated scientific issue can be illuminated by the comparative analysis of vernacular literature and philosophical investigation. Giacomo's reworking of these Aristotelian physiological tenets testifies to his poetical ability to engage with medicine and aesthetic representation.

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Dittberner-Jax, Norita. "Madonna." Frontiers: A Journal of Women Studies 13, no. 2 (1993): 45. http://dx.doi.org/10.2307/3346717.

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Jaffe, Harold. "Madonna." Performing Arts Journal 10, no. 3 (1987): 17. http://dx.doi.org/10.2307/3245449.

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Berry, Valerie. "Madonna." JAMA: The Journal of the American Medical Association 257, no. 19 (May 15, 1987): 2642. http://dx.doi.org/10.1001/jama.1987.03390190120035.

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Allen, Steve. "Madonna." Journal of Popular Culture 27, no. 1 (June 1993): 1–12. http://dx.doi.org/10.1111/j.0022-3840.1993.1654646800.x.

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Kingsbury, Kate, and R. Andrew Chesnut. "In Her Own Image: Slave Women and the Re-imagining of the Polish Black Madonna as Ezili Dantò, the Fierce Female Lwa of Haitian Vodou." International Journal of Latin American Religions 3, no. 1 (April 29, 2019): 212–32. http://dx.doi.org/10.1007/s41603-019-00071-5.

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Zuck, Virpi, and Eira Stenberg. "Parrakas madonna." World Literature Today 59, no. 1 (1985): 132. http://dx.doi.org/10.2307/40140751.

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Weems, Mary E. "Black Madonna." Cultural Studies ↔ Critical Methodologies 8, no. 2 (May 2008): 246–47. http://dx.doi.org/10.1177/1532708607310786.

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Bulow, Peter M. "Alzheimer’s Madonna." American Journal of Psychiatry 165, no. 3 (March 2008): 334. http://dx.doi.org/10.1176/appi.ajp.2007.07111709.

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Kelso, Julie. "Irigaray’s Madonna." Feminist Theology 23, no. 2 (January 2015): 171–85. http://dx.doi.org/10.1177/0966735014555636.

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Treseler, Heather. "Blue Madonna." JAMA 323, no. 20 (May 26, 2020): 2099. http://dx.doi.org/10.1001/jama.2020.1813.

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Southgate, M. Therese. "Madonna II." JAMA 298, no. 24 (December 26, 2007): 2832. http://dx.doi.org/10.1001/jama.298.24.2832.

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LLOYD, ED FRAN, and IAN MCKAY. "DECONSTRUCTING MADONNA." Art Book 1, no. 1 (January 1994): 15–16. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00078.x.

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Luck, Annemarie. "Japan’s Madonna complex: Japan’s contradictory attitudes include highly sexualised images of women and women not being allowed to talk about sex-related subjects." Index on Censorship 46, no. 1 (April 2017): 22–25. http://dx.doi.org/10.1177/0306422017703590.

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Zatlin, Phyllis, Fernando Arrabal, and Lynne Alvarez. "The Red Madonna." Theatre Journal 39, no. 4 (December 1987): 517. http://dx.doi.org/10.2307/3208260.

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Gerein, James, and Britt Holmström. "The Wrong Madonna." World Literature Today 77, no. 3/4 (2003): 95. http://dx.doi.org/10.2307/40158220.

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