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Journal articles on the topic 'Temptation in art'
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1
Moran, Maureen. "THE ART OF LOOKING DANGEROUSLY: VICTORIAN IMAGES OF MARTYRDOM." Victorian Literature and Culture 32, no. 2 (September 2004): 475–93. http://dx.doi.org/10.1017/s1060150304000610.
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BETWEEN1863AND1865 Gerard Manley Hopkins maintained a “little bk. for sins” as a record arising from his daily examination of conscience (6). Many of the failings seem sexually oriented: “Looking with terrible temptation at Maitland” and “Looking at temptations esp. at Geldart naked” (191, 174). The poet's guilty annotations of the illicit homoerotic pleasures of spectatorship are even more striking when the devout Hopkins associates perverse desire with the contemplation of bodies tortured for a religious cause: “Evil thought slightly in drawing made worse by drawing a crucified arm on same page,” or, even more directly blasphemous, “The evil thought in writing on our Lord's passion” (167, 157).
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Fedorova, Irina. "THE TEMPTATION MOTIF IN THE OLD RUSSIAN APOCRYPHA "ZOSIMA’S JOURNEY TO THE RAHMANS"." Проблемы исторической поэтики 19, no. 4 (December 2021): 149–70. http://dx.doi.org/10.15393/j9.art.2021.10143.
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The article examines the functioning of the temptation motif in the ancient Russian apocrypha Zosima’s Journey to the Rahmans. The methods of implementing this motif in the text are analyzed; its significance in the plot of the work and in the formation of the image of the earthly paradise, with which the country of the blessed is associated in this literary work, is established. The biblical source of the motif is the Old Testament story of the fall of Adam and Eve and the test of the strength of faith, embodied in the temptation of Jesus Christ by the devil in the desert. The heterogenous structure of Zosima’s Journey to the Rahmans, where independent plots are integrated (the legendary story of the Rekhabites and the description of the land of the blessed), determined the varied realizations of the motif temptation in the text. An analysis revealed that the prologue of the literary work already contains an allusion to the Gospel temptation plot (a report of the forty-day prayer of the hermit to God). In the story of the Rechabites’ opposition to the king of Jerusalem and the story of the confrontation between Zosima and the devil, the motif of temptation is a plot-forming one. The story of the hermit’s temptation is formed by two storylines: Zosima's opposition to the devil and the fall of the first people, told by the tempter to intimidate the hermit. The Old Testament sin of Adam was developed in the storyline of Zosima and the Rechabite elder, who denounced the hermit as a «preacher» who involuntarily tried to persuade him to lie. The motif of temptation in Zosima’s Journey to the Rahmans may have been expressed explicitly, or merely be discernible, as in the story about the observance of Great Lent by the blessed or through the symbolic connotation of the numbers used in the literary work. The article also demonstrates that changes in the literary history of the apocrypha were reflected in the implementation of the temptation motif in its text.
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Mubi Brighenti, Andrea. "Camouflage, or the Temptation of Relationship." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 28–31. http://dx.doi.org/10.47659/m1.028.art.
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Usually, camouflage is interpreted within the frame of deceitful communication. Scholars have mainly provided accounts of camouflage based on strategic-tactical sign emissions within the frame of ecological competition. The dominant key is one of antagonism and belligerence, whereby camouflage and camouflage detection are described as a ‘semiotic arms race’. These views are grounded in a utilitarian means/ends scheme of either strategic or tactical nature. By contrast, in this piece, I invite to conceptualise camouflage as the temptation of relation. Approaching camouflage as a specifically social temptation suggests regarding it as something that inherently exists beyond the functional domain. Three illustrations from the art world of photography are provided: Leo Selvaggio’s URME Surveillance Project, Arno Rafael Minkkinen’s Continental Divide, and Matthew Barney’s Cremaster 5.
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Lord, Catherine, and B. R. Tilghman. "But Is It Art? The Value of Art and the Temptation of Theory." Journal of Aesthetics and Art Criticism 45, no. 2 (1986): 203. http://dx.doi.org/10.2307/430565.
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Iseminger, Gary, and B. R. Tilghman. "But Is It Art? The Value of Art and the Temptation of Theory." Journal of Aesthetic Education 20, no. 3 (1986): 115. http://dx.doi.org/10.2307/3332440.
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Haaning, Jens. "Spontaneous memories as raw material for short film art." Short Film Studies 9, no. 1 (January 1, 2019): 47–50. http://dx.doi.org/10.1386/sfs.9.1.47_1.
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What is important when transforming childhood memories into storytelling? The details. And resisting the temptation to place plot over detail. Through poetic rather than narrative plotting, Avondale Dogs demonstrates how to preserve the authenticity and spontaneity of a childhood memory. And that is when short films are turned into art.
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Gulden, Ann Torday. "Is Art "nice"? Art and Artifice at the Outset of Temptation in Paradise Lost." Milton Quarterly 34, no. 1 (March 2000): 17–24. http://dx.doi.org/10.1111/j.1094-348x.2000.tb00615.x.
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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.
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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.
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LORD, CATHERINE. "B. R. Tilgham, But Is It Art? The Value of Art and The Temptation of Theory." Journal of Aesthetics and Art Criticism 45, no. 2 (December 1, 1986): 203–4. http://dx.doi.org/10.1111/1540_6245.jaac45.2.0203.
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Marquis, Alice Goldfarb, and Julia S. Ardery. "The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art." American Historical Review 104, no. 4 (October 1999): 1342. http://dx.doi.org/10.2307/2649672.
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Race, Julian H. "Multiple choice examinations and the MRCPsych: “Between guesswork and certainty in psychiatry”." Psychiatric Bulletin 15, no. 2 (February 1991): 87–88. http://dx.doi.org/10.1192/pb.15.2.87.
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More than two decades ago, Aubrey Lewis delivered a visionary Bradshaw lecture to the Royal College of Physicians (Lewis, 1958). The address centred upon the place of scientific method as applied to the art of psychiatry. In his concluding remarks, Lewis emphasised the ardours and perils of guessing. Nowhere is the temptation to guess more clearly illustrated than in multiple choice examinations.
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Reiter, Aviv. "Kant on Fine Art, Genius and the Threat of Private Meaning." Kantian Review 23, no. 2 (May 16, 2018): 307–23. http://dx.doi.org/10.1017/s1369415418000079.
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AbstractWittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content to others. This raises the question of whether we can conceive of art as both original and meaningful without succumbing to privacy.
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Voronina, Tatiana. "THE INTERPRETATION OF THE EVANGELIC PLOT IN THE STORY “THE LAST TEMPTATION” BY A. KONDRATIEV." Проблемы исторической поэтики 15, no. 1 (March 2017): 92–104. http://dx.doi.org/10.15393/j9.art.2017.4141.
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Park, So-young. "The Art of Temptation and the Meaning of Erotism in Yi Sang's Poetry." Society for Korean Language & Literary Research 43, no. 1 (March 2015): 253–83. http://dx.doi.org/10.15822/skllr.2015.43.1.253.
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Modina, Galina I. "History of Publishing of G. Flaubert’s Philosophical Drama “The Temptation of St. Anthony”." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 50–55. http://dx.doi.org/10.25281/0869-608x-2009-0-3-50-55.
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“The Temptation of St. Anthony” is a work of the French writer Gustave Flaubert that is not very known to French and Russian readers and the least analyzed by the critics. The article reveals the peculiar “birth” of this text, features of its content and value in the art world of the writer, deals with the history of publication of this book, which was called by Flaubert “The work of the whole life” in Russia.
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Barker, Garry. "The Temptation of Edgar Toison: Where Twentieth Century Folk Art Led by Julia S. Ardery." Appalachian Heritage 26, no. 2 (1998): 72–73. http://dx.doi.org/10.1353/aph.1998.0069.
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Bronner, Simon J. "The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art. Julia S. Ardery." Winterthur Portfolio 34, no. 2/3 (July 1999): 175–78. http://dx.doi.org/10.1086/496783.
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Kovaleva, Tatiana. "THE MOTIF OF THE PRODIGAL SON IN THE PLOT OF IVAN BUNIN’S NOVEL THE LIFE OF ARSENIEV." Проблемы исторической поэтики 19, no. 2 (May 2021): 301–25. http://dx.doi.org/10.15393/j9.art.2021.9582.
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The article is devoted to the research of the reception and transformation of the subject of the Gospel Parable of the Prodigal Son in the novel The Life of Arseniev by Ivan Bunin. The key events in the Parable of the Prodigal Son are present in the structure of The Life of Arseniev: leaving the ancestral home — leaving God behind; temptations of the spirit and flesh, dissolute life, spiritual lust, spiritual death; confession; return to the ancestral home — return to God, to the Heavenly Father’s Home. Arseniev's departure from his ancestral home differs from the departure of the Gospel Parable’s hero, yet this event is one of the landmarks in the main character’s life path of life. Unlike the prodigal son, Aleksey Arseniev leaves his home seeking the highest meaning and purpose of life as the key aim; the sense of God’s presence had been present in his soul since his very childhood. However, the youthful thirst for glory and pleasures of life led Bunin's hero to the abandonment of the Heavenly Father and to immersion in sinful life. The tropes of sensuality, temptation, desire, degradation, sins, unfaithfulness, adultery are the key motifs in the description of the hero’s dissolute life. Arsenyev’s immoral life became the main reason for the damage to his relationship with Lika and her breakup with him. The most important events in the Gospel Parable of the Prodigal Son are repentance of sins, penance before his father and before God — these events appear in Bunin’s novel in an altered form. Since Arseniev did not experience deep repentance before God for his sinful youth, the resurrection of his soul and his return to the Home of the Heavenly Father were impossible. Bunin demonstrates that an entire life is required for the hero to experience true repentance and his final return to God, thus Bunin leaves Arseniev on the path to God. Scenes from the Gospel Parable of the Prodigal Son, such as departure from the ancestral home, dissolute life and spiritual death are recreated most completely in Bunin’s novel The Life of Arseniev; while repentance and return to God, which take up the remainder of the hero’s life, are described by the author in a complex altered form.
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Hassan, Gubara Said, and Jabal M. Buaben. "Hassan al-Turabi’s Discourse on the Arts." American Journal of Islam and Society 32, no. 4 (October 1, 2015): 132–43. http://dx.doi.org/10.35632/ajis.v32i4.1015.
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In Islam, God’s wondrous creativity is reflected in the unity of designin the widest diversity and beauty of the cosmos. For someMuslims, Islamic art expresses this natural beauty as well as themiracles of God’s creation related in the Qur’an and the prophetictraditions (aḥādīth). This article focuses on Hassan al-Turabi’sperceptions of the arts and the aura of conservative prohibitionand cautious permission that surrounds them. For him, the Islamicattitude toward the arts and aesthetics is determined by monotheism(tawḥīd), which entails one’s absolute belief in God’s onenessand the abjuration of anything that might compete with it or withHis omnipotence. God has created in beauty a dualistic nature:guidance (belief and faith) and temptation (seduction and aberration)for humanity.
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Costa, Dennis. "“incredibilis fama”: Some Remnants of Time in Virgilian Epic." Kronoscope 12, no. 1 (2012): 7–15. http://dx.doi.org/10.1163/156852412x631619.
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AbstractThis paper reads out two very well-known moments in Books 3 and 1 of Virgil’s epic poem in order to address a Virgilian tactic, a poetic strategy, that has not been fully requited in the criticism. These are moments in which the poet chooses to foreground absurd, excessive, epiphenomenal and short-lived things that time seems to bring about. Aeneas, Virgil’s unlikely hero, struggles as much with such moments as he does with all the sworn enemies of the Trojans. He struggles especially with the temptation toward a poignant, nostalgic fixation on his tragic past. He is told that he must become devoted religiously to the greatest of Troy’s enemies, the goddess Juno. It is inside a Carthaginian temple dedicated to Juno that the hero experiences the ‘newness’ that a great work of art is always able to proffer. But Virgil knows that Carthage and Juno’s temple and the works of art themselves will all become follies of time, left in ruins by theromanitasthat Aeneas has just been encouraged to prepare.
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Felici, Maria Serena. "A estética da natureza: a fruta na obra de Sophia de Mello Breyner Andresen." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 05 (2020): 95–106. http://dx.doi.org/10.53943/elcv.0220_09.
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Sophia de Mello Breyner Andresen’s poetry of the real develops around some elements that characterize the writer’s literary universe: the sea, the garden, the house, the classical art and the night landscapes. The amazement before the beauty of the visible, brings human beings closer to nature and God. This paper will focus on Sophia’s quotes of fruits whithin her poetic and narrative work. In her writing, fruits can be linked to her childhood memories; it can show a straightforward example of Nature’s beauty; or it can establish metaphors based on isotopies shared with objects belonging to other semantic fields. In the western tradition some fruits, including apples, are a symbol of temptation and lust, whereas in Sophia’s writing they are trigger reconnection with the ancestors and are full of literary dignity.
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Alexandropoulou, Antigoni, and Martin Winner. "Creditor Protection and Divisions – Did the CJEU Get It Right?" European Company and Financial Law Review 18, no. 4 (August 1, 2021): 588–607. http://dx.doi.org/10.1515/ecfr-2021-0021.
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Abstract The CJEU’s I.G.I. decision deals with an important aspect of creditor protection in divisions. The Court holds that the actio pauliana under Italian law may be applied to divisions, notwithstanding that such a protective measure is not foreseen in art. 146 and 153 Directive 2017/1132/EU. We argue that the Directive’s ex post protective measures should be understood as fully harmonizing provisions. The decision fails to strike the right balance between the interests of all relevant stakeholders involved, especially between different groups of creditors, and unduly impairs legal certainty. However, if one takes the decision as a basis, the judgment gives Member States considerable room to introduce or maintain additional safeguards in their national legal systems. We show that national legislators should not give in to this temptation, neither for domestic nor for cross-border divisions.
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Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE." Проблемы исторической поэтики 20, no. 2 (March 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.
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“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.
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Morris, Christopher. "Deconstruction and Music." Derrida Today 11, no. 1 (May 2018): 93–113. http://dx.doi.org/10.3366/drt.2018.0175.
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Despite frequent valorizations of music in the west, the art has also been perceived as a threat to philosophy and theology, ostensibly on the grounds of its potential for danger to the polis (Plato and Aristotle), temptation to impiety (Augustine and Calvin), coercion (Kant), or lack of objective content (Hegel). Accompanying these doubts is a longstanding anxiety concerning music's relation with inarticulation or silence. Debates over the definition and ontology of music persist today in both analytic and continental traditions, with neither approach succeeding in forging consensus. Musical Platonism (Kivy, Norris) is today's uneasy default position in the academy. However, recent reassessments of speech acts (Miller) and of the Derridean world as phantasm (Naas) can return music to its structural constitution in différance – to an alternation between sound and silence. This redefinition of music and its parallel with language can contextualize Derrida's most extended engagement with the topic, his interview with Ornette Coleman.
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Sawa, Magdalena. "Trust and Suspicion: Gabriel Josipovici on Shakespeare and Modernity." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 38, no. 1 (December 21, 2020): 187. http://dx.doi.org/10.17951/ff.2020.38.1.187-198.
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<p>Celem artykułu jest ukazanie pracy Gabriela Josipovici zatytułowanej On Trust: Art and the Temptation of Suspicion (1999) jako cennego wkładu we współczesne rozważania nad afektem oraz kształtowaniem się post-postmodernistycznej postawy odrzucającej wątpienie. Wybitny brytyjski pisarz, dramaturg i krytyk Josipovici podejmuje próbę charakterystyki kultur przednowoczesnych oraz świata nowoczesnego za pomocą dwóch kontrastowych postaw emocjonalnych: ufności i wątpienia. Artykuł przedstawia tę część rozważań autora, która dotyczy istotnego momentu w historii świata, kiedy to uczucie wątpienia zaczyna dominować w kulturze. Stąd koncentracja na wyłanianiu się nowoczesności w renesansie, znajdujące odzwierciedlenie w utworach Szekspira, które wskazują na napięcie między ufnością i wątpieniem tworzące się w kontekście humanizmu i protestantyzmu. Próbie rekonstrukcji myśli przewodniej On Trust towarzyszą odniesienia do innych utworów Gabriela Josipovici, takich jak: Writing and the Body (1982), The Book of God (1988), What Ever Happened to Modernism? (2010) i Hamlet: Fold on Fold (2016). Dzięki odwołaniom do innych prac Josipovici udowodniono, że perspektywa ufności i wątpienia jest stale obecna w myśli krytycznej autora.</p>
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Gabriel, Yiannis. "Leadership in opera: Romance, betrayal, strife and sacrifice." Leadership 13, no. 1 (September 16, 2016): 5–19. http://dx.doi.org/10.1177/1742715016663302.
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What, if anything, does opera tell us about leadership, leaders and followers, that social research or indeed other art forms do not tell us? This is the question I address here. I argue that opera is a highly political genre, able to depict political events involving leaders and followers in sharply illuminating ways. In particular, through the device of the chorus it is able to represent the political actions and sentiments of large multitudes of people in their complexity and ambiguity. It is also capable of portraying many of the contradictions of leadership in a critical light. In particular, I argue that opera offers powerful insights into the psychology of leaders confronted by crisis and strife. It highlights the sacrifices they make, the distance and isolation that frequently afflicts them, the different ways in which they wield power and handle conflicts and the tensions between their private and public lives. In showing them meting out favours and punishments, opera warns of rulers’ perennial temptation to abuse their power and highlights some of the dark sides of leadership.
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Misyurov, Nikolay. "SIEGFRIED THE DRAGON SLAYER AS A MODEL OF ACTIVE BEING: UNITY OF MYTH AND PHILOSOPHY ON THE ISSUE OF FREE WILL." Studia Humanitatis 18, no. 1 (June 2021): 26–35. http://dx.doi.org/10.15393/j12.art.2021.3683.
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The relevance and topicality of the study is determined by the crisis of personal existence, as well as the denoting sociocultural phenomenon of the category that has exhausted its epistemological significance at the historic moment of the “values shift” – the displacement of the classical paradigm by the paradigm of postmodernism and the transformation of traditional society into “open” one (or “consumption society", as one would say now). One of the results of such a global modification of communication strategies and tactics, cognitive practices and even certain stable constructs (such as national concepts, cultural meanings, and stereotypes of psychological and so-cial behavior) was the restoration of the priority of myth (as a form of worldview and a way of transforming the world) and, accordingly, a revival of interest in mythology and the mythological picture of the world. The subject of the study is the syncretic unity of philosophical consciousness and mythological consciousness. The article analyzes the “existential” problem of modern man’s existence, which is solved differently by different philosophical currents, which, however, share one common idea that the “essential” nature of human activity is revealed in a communicative act; the cognitive meaning of the individual’s will is refined and corrected in public discourse. We should agree with an almost axiomatic statement that orientation towards “genuine existence” is conditioned by freedom and independence, as well as by “critical reason”. The paper proves that activity – not in the sense of production, political, creative cultural or other activity, but in the sense of internal readiness for the productive use of human potency for the benefit of both the individual and the collective – is fundamental for such a special (mythological heroic) state of mind. It is stated that the modus of being in modern “anthropological” philosophy is opposed to the modus of possession; in order to “be”, a person must give up self-centeredness and gain his or her independence. The modern man’s freedom of choice is determined by the logic of culture, the institutions of “open” society and the factors of globalization; however, the cultural heritage of the past retains its significance, the “primitive power” of myth fertilizes mass culture, and the typological image of a hero (as immaculate as Siegfried) becomes a temptation for the “alienated” subject of conceiving the world.
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Yaffe, Gideon. "The Government Beguiled Me." Journal of Ethics and Social Philosophy 1, no. 1 (May 30, 2017): 1–50. http://dx.doi.org/10.26556/jesp.v1i1.4.
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Defendants who are being tried for accepting a temptation issued by the government sometimes employ the entrapment defense. Acquittal of some of them is thought to be justified either on the grounds that culpability was undermined by the temptation (the “subjective” approach) or on the grounds that the government acted objectionably in issuing the temptation (the “objective” approach). Advocates of the objective approach often criticize those who employ the subjective by citing what is here called “the problem of private entrapment”: we don’t grant a defense to those who accept temptations issued by private parties, and so it can’t be, it is claimed, that temptation undermines culpability. This paper argues that there is a difference in culpability between a defendant who accepts a government-issued temptation and a defendant who accepts a temptation issued by a private party. This claim is supported by identifying a necessary condition for desert of legal punishment and arguing that the privately entrapped satisfy that condition while the governmentally entrapped do not. The difference, it is argued, is rooted in the fact that the government aims to cause the defendant to act illegally, while private parties, except in extraordinary cases, aim only to cause the defendant to act in a way that happens to be illegal. The paper also argues that, despite appearances to the contrary, advocates of the objective approach also encounter the problem of private entrapment.
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Bădulescu, Dana. "A ‘Palimpestuous’ Reading of Lisa Strøme’s The Strawberry Girl." University of Bucharest Review. Literary and Cultural Studies Series 10, no. 1 (October 5, 2021): 99–110. http://dx.doi.org/10.31178/ubr.10.1.8.
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This reading of Lisa Strømme’s debut novel The Strawberry Girl (2016) is informed by Gérard Genette’s approach to literature as ”hypertextual,” by which the literary theorist means that any text evokes “some other literary work” (Palimpsests: Literature in the Second Degree 9). To weave the story of how Munch painted the first version of his iconic Skrik (The Scream) at Åsgårdstrand, Strømme read Munch’s journals, newspaper archives, an old memoir by a local woman, Inger Alver Gløersen, whose stepfather was a friend of Munch’s, she explored Munch events and exhibitions, Munch’s paintings, and she had talks with local people. Aside from these non-literary sources, the writer referenced Goethe’s Faust, the legend of Peer Gynt, the Poetic Edda, Dostoevsky, and she prefaced each chapter of the novel with a quote from Goethe’s Theory of Colours. This kind of multi-layered writing lends itself to what Genette calls, using Philippe Lejeune’s coinage, “a palimpsestuous reading” (399) done by readers whose barthesque “jouissance” leads them into the temptation of loving “(at least) two [texts] together” (399), and, in this case, a lot more than two, and not just texts, but also the enthralling art of painting, in a synesthetic experience.
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Newman, William R., and Lawrence M. Principe. "Alchemy Vs. Chemistry: the Etymological Origins of a Historiographic Mistake1." Early Science and Medicine 3, no. 1 (1998): 32–65. http://dx.doi.org/10.1163/157338298x00022.
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AbstractThe parallel usage of the two terms "alchemy" and "chemistry" by seventeenth-century writers has engendered considerable confusion among historians of science. Many historians have succumbed to the temptation of assuming that the early modern term "chemistry" referred to something like the modern discipline, while supposing that "alchemy" pertained to a different set of practices and beliefs, predominantly the art of transmuting base metals into gold. This paper provides the first exhaustive analysis of the two terms and their interlinguistic cognates in the seventeenth century. It demonstrates that the intentional partition of the two terms with the restriction of alchemy to the the sense of metallic transmutation was not widely accepted until the end of the seventeenth century, if even then. The major figure in the restriction of meaning, Nicolas Lemery, built on a spurious interpretation of the Arabic definite article al, which he inherited from earlier sources in the chemical textbook tradition. In order to curtail the tradition of anachronism and distortion engendered by the selective use of the terms "alchemy" and "chemistry" by historians, the authors conclude by suggesting a return to seventeenth-century terminology for discussing the different aspects of the early modern discipline "chymistry."
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Zadorina, Alena O. "Eve, Magdalina, Samaritian... (To the Typology of Female Images in the Novel of L. M. Leonov “Thief”)." Vestnik NSU. Series: History, Philology 20, no. 9 (November 19, 2021): 108–16. http://dx.doi.org/10.25205/1818-7919-2021-20-9-108-116.
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Purpose. The article presents the results of the analysis of key female images in the novel by L. M. Leonov “Thief”: Masha Dolomanova, Tatiana Vekshina, Zinaida Balueva, Ksenia Babkina – whose fates are united by a typological commonality. The relevance of the study is due to the rethinking of the role of women in the modern world and art, and the formation of heroines, unhappy men in the world of men, in the literature of the 20th century developed, including under the influence of post-revolutionary, post-war reality, under the influence of urbanization.
Methodology. The study based on the works devoted to the poetics of motif, image. To achieve the goal, the following tasks were set: determination of artistically significant motives; comparison of plot lines with precedent texts (mostly biblical); explanation of details that clarify the essence of female images. Using the method of motif analysis, identified the main motives involved in creating the storylines of each heroine, and their variants.
Results. The motif of violence is highlighted, which is presented in the following allomotives: sexual violence (including deprivation of innocence) – for all heroines, except for Zinaida Balueva; physical violence (beating) – images of Masha Dolomanova, Zinaida Balueva – and suicide (Ksenia Babkina); psychological abuse (like suppression of will, lack of care) – all heroines. Within the framework of the method of structural-typological analysis, female characters were correlated with the poles of the binary opposition between the evil wife and the good wife, ascending to the Holy Scriptures. It was found that, in addition to the motive of violence, which is present in the storyline of each heroine, but conditioned not by the will of the person, but by chance, Leonov’s female characters are united by the motive of temptation, temptation, which allows one to assess their individual position and explain the tragic outcome of life.
Conclusion. The female images in the novel “Thief” are comparable with such biblical personalities as Eve, Mary Magdalene, an unnamed Samaritan woman, Tatiana the Martyr. Their fates are determined by the actions or desires of other heroes, which, given the fact that they have not found their own God, ultimately leads to despair and irrevocable death.
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Zentner, Lucila, and Ron Borland. "The Roles of Temptation Strength and Self-efficacy in Predicting Smoking Cessation Attempts." Behaviour Change 12, no. 4 (December 1995): 191–95. http://dx.doi.org/10.1017/s0813483900004034.
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This paper examines the predictive value of self-efficacy and strength of temptations in determining whether a person will try to give up smoking, and successfully do so for at least one day. Participants were 62 smokers calling a quit-smoking telephone service. They were assessed by self-report questionnaires by telephone. Fifty-six per cent had made an attempt to stop smoking within 3 weeks. Measures of self-efficacy to quit smoking and strength of temptations to smoke were not closely related. Multivariate analyses revealed that after intention to quit entered the equation, self-efficacy was inversely related to making a quit attempt, as was temptation strength and extent of addiction. This study extends previous work that showed self-efficacy has a complex relationship with making quit attempts by showing that self-efficacy operates quite differently from strength of temptations. This may be because measures of self-efficacy, when made in the context of intention to act, contain a motivational component as well as an assessment of skills to resist temptations.
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Rees, Roger. "Images and Image: a Re-Examination of Tetrarchic Iconography." Greece and Rome 40, no. 2 (October 1993): 181–200. http://dx.doi.org/10.1017/s0017383500022774.
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Consideration of Tetrarchic portraiture has usually focused on the extant porphyry sculptures (plates 2, 6, 7, 9, and 10). This was perhaps inevitable, since the arresting eyes of the Cairo bust or the stubby legs of the Vatican groups are certainly curious. Few scholars have resisted the temptation to pronounce their aesthetic judgement (and why not?), but none has been as caustic as Bernard Berenson who saw in them ‘the meanest symptoms of decay’, an effect into which the sculptor had ‘simply blundered and stumbled’. Berenson's book and many of the other academic works which refer to the porphyry sculptures address the wider issue of style and, in particular, stylistic change in Late Antiquity. They cite the same art, but draw a range of conclusions: L'Orange proposes parallels between style and the structure of society; Kitzinger suggests a conscious approximation to a ‘sub-antique’ style; and Bandinelli sees the porphyry work as exceptional, specialized and short-lived. Without neglecting the porphyry sculpture, the present essay aims to consider the whole range of surviving portraits and to make sense of them within the relatively narrow field of Tetrarchic ideology. This necessarily involves the question of style and, therefore, has points of contact with the above ideas. However, the present study is primarily ‘internal’, drawing together images diverse in form and location. Patterns are soon apparent, but the Tetrarchy had to establish its ideological stability and credibility if the government were to endure. It collapsed quickly (A.D. 284–311), but in this respect, Tetrarchic portraiture offers a good example of the power of art to manipulate its audience by instilling belief.
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Макаров, Денис Владимирович. "The Temptation of Vasily Thebesky: the Concept of Man in the Story of L. N. Andreev «The Life of Vasily Thebesky»." Слово и образ. Вопросы изучения христианского литературного наследия, no. 3(5) (September 13, 2022): 30–61. http://dx.doi.org/10.31802/wi.2021.5.3.003.
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Цель статьи - рассмотреть сюжет и образно-символическую систему повести Леонида Николаевича Андреева «Жизнь Василия Фивейского», а также выявить авторскую концепцию человека на материале данного произведения. Основу методологии исследования составляет системный подход к анализу поэтики художественного произведения в контексте православной культурной традиции. Исследуется сюжет, мотивы, образы, символика повести и предпринимается попытка выявления концепции человека на данном материале. В повести выстраивается следующая концепция человека: человек - храм, в котором существуют два начала: свет и тьма (любовь и инстинкт, гармония и хаос, жизнь и смерть, добро и зло). Первоначально в человеке живут только свет и гармония, но вследствие давления внешней тьмы и внутренних искушений в храм проникают тьма и хаос, которые и разрушают светлые начала, а вместе с ними и сам храм, и самих себя. The purpose of the article is to consider the plot, the figurative-symbolic system of the story «The Life of Basil Thebesky» by Leonid N. Andreev and to reveal the author’s concept of man on the basis of this work. The research methodology is based on a systematic approach to the analysis of the poetics of a work of art in the context of the Orthodox cultural tradition. The plot, motives, images, symbolism of the story are investigated and an attempt is made to identify the concept of a person on this material. In the story, the following concept of man is built: man is a temple in which there are two principles: light and darkness (love and instinct, harmony and chaos, life and death, good and evil). Initially, only light and harmony live in a person, but due to the pressure of external darkness and internal temptations, darkness and chaos penetrate into the temple, which destroy the light principles and, together with them, the temple itself, and themselves.
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Beregovska, Khrystyna. "The problem of social and anthropological crises in the painting of Vasyl Kurylyk." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 152–57. http://dx.doi.org/10.32461/2226-0285.1.2021.238612.
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The purpose of the article is to solve the problem of social crises and human degradation in the secular paintings of the Canadian-Ukrainian artist William Kurelek (1927-1977) on the example of selected works. Methodology. General scientific and interdisciplinary research methods were used to solve the set tasks: analysis, synthesis, hermeneutic and comparative methods. The method of formal and stylistic analysis made it possible not only to identify the origin of individual works, but also to characterize the artistic processes that took place in the Canadian-Ukrainian environment and which are reflected in the work of W. Kurelek. This methodological approach helps us to characterize the composition of the work (space, time, color, light, composition, perspective). Scientific novelty. For the first time in the context of art discourse, on the example of specific works of the artist, we analyzed the acute social problems that William Kurelek showed in his paintings. Conclusions. The article analyzes the preconditions for the creation of some secular works by William Kurelek, as well as the artistic and stylistic features of his paintings on current social issues. In particular, we analyze the problem of globalization, social crisis and spiritual and ethical degradation of personality. Social issues are divided into: temptation, race, oppression of "inferior", abortion, fear, the routine of the "third world", the contrast of good and evil, justice and betrayal, love and hate, and others.
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Purnomo, Sigit Cahyo. "Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis." Register Journal 6, no. 1 (June 1, 2013): 125–43. http://dx.doi.org/10.18326/rgt.v6i1.125-143.
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This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis
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Purnomo, Sigit Cahyo. "Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis." Register Journal 6, no. 1 (June 1, 2013): 125. http://dx.doi.org/10.18326/rgt.v6i1.225.
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This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis
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Hepokoski, James A. "Genre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)." Cambridge Opera Journal 1, no. 3 (November 1989): 249–76. http://dx.doi.org/10.1017/s0954586700003025.
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In the attempt to construct the ‘story’ of post-Rossinian Italian opera it has been standard practice to identify as the central plot the dissolution of traditional structural types and genres. The charting of those musical ‘facts’ that illustrate this dissolution is a familiar musicological endeavour, and there remains a persistent temptation not merely to notice the ever-weakening pull of convention but also to identify it with the notion of ‘historical progress’: a move towards the mature virtues of dramatic complexity, idiosyncrasy and flexibility. Considerations of established conventions and their modifications tend to encourage anti-generic evaluative positions, judgements which are then bolstered by appealing to influential aesthetic systems. Thus Benedetto Croce: ‘Every true work of art has violated some established kind and upset the ideas of the critics’. Or Theodor Adorno: ‘Actually, there may never have been an important work that corresponded to its genre in all respects’. Or Hans Robert Jauss: ‘The more stereotypically a text repeats the generic, the more inferior is its artistic character and its degree of historicity […]. A masterwork is definable in terms of an alteration of the horizon of the genre that is as unexpected as it is enriching’? So bewitching is this image of genre dissolution that artistic production is often assessed by the degree to which it rebels against the idées reçues of tradition or encourages the momentum of the ‘historically inevitable’.
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Putzke, Holm, Aleksey Tarbagaev, Аleksandr Nazarov, and Ludmila Maiorova. "Criminal Liability for Using Doping in Sport: German Experience - an Example for Russia?" Russian Journal of Criminology 13, no. 5 (October 31, 2019): 856–67. http://dx.doi.org/10.17150/2500-4255.2019.13(5).856-867.
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The use of doping in sport is quite widespread at present. Primarily, it concerns professional and high level sport, where the best performance results in high income and profitable endorsement deals. It creates a temptation to improve the natural sport achievements through the use of doping. The public danger of such actions is evident: doping not only poses a threat for the athlete’s health, it also, from the viewpoint of justice, infringes on the interests of those athletes who, out of principle, never use prohibited substances and (or) methods to improve their performance in sports. Besides, such actions considerably reduce the educational effect of sport, including the declared honesty and fairness of competition. Finally, the use of doping misleads fans, spectators and sponsors of sports competitions. The authors analyze German criminal anti-doping legislation and assess the possibilities of using some of its clauses to improve Russian criminal law norms that provide for criminal liability in the cases of doping-related crimes. They show if it is possible to use the athletes’ laboratory doping tests, probes, etc. as well as the official decisions of international, national disciplinary bodies and sport courts in criminal proceedings in connection with the well-known principle of nemo tenetur («nobody is bound to incriminate himself» — equivalent to the clause of Art. 51 of the Constitution of the Russian Federation) while taking into account the prejudice principles of Russia and Germany.
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Ng, Yi-Sheng. "Raffles restitution: Artistic responses to Singapore's 1819 colonisation." Journal of Southeast Asian Studies 50, no. 4 (December 2019): 599–631. http://dx.doi.org/10.1017/s0022463420000089.
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1819 represents a highly charged moment in the Singapore imagination. It marks the birth of our modern city-state, yet it also signals the beginning of our colonisation: the domination of Malay and other Asian cultures by Western powers. Artists have thus responded to the event with widely variant attitudes, ranging from E.W. Jesudason's laudatory Raffles Institution Anthem (c.1963–66) to Isa Kamari's stridently anti-colonial novel, Duka Tuan Bertakhta / 1819 (2011). The prevailing sentiment, however, has been one of playful ambivalence. While accepting the fact of colonisation, artists have rejected a founding myth that glorifies our primary colonist, Sir Stamford Raffles. Instead, we have lampooned him in works like Robert Yeo's play The Eye of History (1991) and Colin Goh's film Talking Cock: The Movie (2002); raised ourselves to the height of his statue in Lee Wen's art event Untitled (Raffles) (2001); highlighted narratives of overlooked figures in the drama of colonisation: William Farquhar, Sophia Raffles, Nonio Clement, Sultan Hussein Shah, Munsyi Abdullah, and Sang Nila Utama. As a cultural researcher and author of the biographical drama The Last Temptation of Stamford Raffles (2008), I shall examine trends behind these divergent representations of our colonisation. I argue that artists have chosen to retell 1819 not as a year of conquest, but as a polymorphous moment of transformative contact between East and West; one in which we may view ourselves, not as the victims of change, but as its agents.
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Barnett, Teresa. "The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art. By Julia S. Ardery. Chapel Hill: University of North Carolina Press, 1998. 353 pp. Hardbound $45.00; Softbound $19.95." Oral History Review 27, no. 1 (January 1, 2000): 160–63. http://dx.doi.org/10.1093/ohr/27.1.160.
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Holomidova, L. V. "Robert Musil’s short stories: a dialogue of literary tradition and the author’s innovation." Bulletin of Luhansk Taras Shevchenko National University, no. 4 (335) (2020): 121–31. http://dx.doi.org/10.12958/2227-2844-2020-4(335)-121-131.
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The article deals with the analysis of the artistic technique of short stories by Robert Musil, an Austrian writer, through the prism of combining literary traditions of German – language short stories and the author’s innovation. In the scope of theoretical study of novel characteristics such short stories as „The Perfecting of Love”, „The Temptation of Quiet Veronica”, „Grigia”, „The Portuguese Lady”, „Tonka” from the collection of works „Unions” and „Three Women” help to point out the author’s definition in regard to the theory of modernist short story that is shown in Robert Musil’s essay „Short story as a problem”. Thus, the ways of realization of the theoretical bases of the literary tradition of the Austrian short story in combination with the consistent content formality of the author’s experimentalism are observed and highlighted. Its specific way of reproducing and combining the theoretical basis of the short story as a classical epic genre with individual authorial terms: „another state”, “possibility of suggestion, association and influence of mood”, „single case” and „commercial article” is shown. At the same time, the individual author’s synthesis of logic, psychologism and art is emphasized. A number of extensions of genre features of the poetics of R. Muzil’s short stories are outlined, and thus the exclusivity of the short story is pointed out as one of the most important forms of short prose of the end of the XIX – beginning of the XX century. It is concluded that this phenomenon is distinguished not as a complete break from traditional narrative structure of German short story, but as a specific opportunity to examine and analyse modern human consciousness.
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Doraiswamy, Rashmi. "The After Life of the Buddha: Parinirvana Images in Eurasia." Ideas and Ideals 13, no. 4-2 (December 27, 2021): 458–75. http://dx.doi.org/10.17212/2075-0862-2021-13.4.2-458-475.
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This article examines religions in which the life of the spiritual leader is as important as the death, and where the narratives of death (and not just of life) enter the image cycles in art. The Buddha willed himself to die when he was eighty at Kushinagara. Buddhism is one of the rare world religions where there is a huge repertoire of mahaparinairvana images. Buddhism values the release from the cycle of rebirths and deaths. The sets and cycles of images that make up the representation of the death of the Buddha in sculpture and paintings in caves spread across Eurasia are described in detail. The death images are important spatially, materially and culturally. These images began to be made in Mathura, were perfected at Gandhara and travelled all the way across Central Asia to China and beyond. The relics left behind after cremation were enshrined in stupas. They represented a continuation of dharma, of the presence of the Buddha even after he had passed on. The article analyses in detail three caves – Cave 26 in Ajanta in Maharashtra, India; Cave 205 in Kizil in Kucha, Central Asia (East Turkestan) and Cave 148 in Mogao, Dunhuang, China. All three caves juxtapose monumental images of the Dying Buddha with different themes related to his death: The Temptation of Demon Mara in Cave 26, Ajanta; how King Ajatashatru was told of Buddha’s passing along with the cremation of the coffin with the mahaparinirvana Buddha in it in Cave 205, Kizil. Cave 148 at Mogao contains the most complete set of scenes and images representing events pre- and post- Buddha’s death in sculptures and murals. In addition, there are Chinese interpretations of the Pure Lands in large murals.
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BULANCEA, Gabriel. "CLASSICISM AND NEO-CLASSICISMS IN THE HISTORY OF MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (November 24, 2021): 115–22. http://dx.doi.org/10.26520/mcdsare.2021.5.115-122.
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In one of his articles, Octavian Paler draws attention in a metaphorical-mythologizing manner upon one of the risks taken by those who chose tradition as their source of inspiration. The epigonic spirit, because this is what he refers to, cannot escape idolatrising tradition, phenomenon that happens within an alterity of the creative identity, within the pettiness of controlling the artistic means, within the infatuation of his own image which is placed under the protection of the great creative figures. The epigone masters in an embryonic form some techniques which, for various reasons, he cannot manipulate creatively. He is somehow suspended between two sensibilities, hence his failure. On the one hand, he is not aware of the risk of assuming past sensibilities, and on the other, he does not assume his contemporariness. Giving in to the temptation of looking too much into the past, the epigonic artist loses his identifying sensibility. “The mistake of neo-classicism, with its statues painted or sculpted based and antique models, is Orpheus’ mistake. As we no longer have the soul of the ancient Greeks, imitating their art is useless because in art too, looking back kills if there is no conscience of the irreversibility. From this point of view, there is no turning back unless in order to desolate everything” (Paler, 2016, pp. 189-190). This quote refers to neo-classicism perceived in its most rudimentary form, in which it would identify itself with the epigonic phenomenon. Of course, no relation of equality can be claimed between an epigone and a neo-classicist. If we are to give a brief definition in which to establish a relationship between these two terms, the epigone is a neo-classicist that lacks fantasy. Neo-classicism means to creatively take over technical means, past sensibilities in order to anchor them in the tumultuousness of contemporary times. Neo-classicism represents the happiest mixture between past and present, that form of artistic reverberation in which modernity still makes room for the seal of the past. Not servility, not obedience, not anachronism which denote the incapacity to assimilate new composing techniques or the lack of vigour of creative energies, but the power to adapt to new sensibilities through restorative interventions. Starting from here, we will trace a re-echeloning line of various types of neo-classic sensibilities specific to the end of the 19th century and to the entire 20th century
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McFarlane, Brian. "Temptation Harbour." Quarterly Review of Film and Video 27, no. 5 (September 30, 2010): 362–64. http://dx.doi.org/10.1080/10509208.2010.494529.
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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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Ameriks, Karl. "Hegel's Aesthetics: New Perspectives on its Response to Kant and Romanticism." Hegel Bulletin 23, no. 1-2 (January 2002): 72–92. http://dx.doi.org/10.1017/s0263523200007916.
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Above all else, Hegel can be said to be the master of context, the philosopher who insisted that properly understanding anything involves putting it in its full context, reconstructing its development and its relation to all that is around it. From the beginning of his career, Hegel did not hesitate to put into its place the work of his fellow philosophers; his analysis, critique, and supersession of them occurred all at once, and culminated when he located them within his Phenomenology of Spirit and the final system of his Encyclopedia. Long after Hegel's own era, and even after the sharp decline in the appeal of his specific system and of ambitious systematic philosophy in general, a looser form of Hegel's contextual approach remains very popular, and with good reason. Without giving in entirely to this approach, it is hard to resist the temptation to turn the tables on Hegel himself a bit. Hence, in casting a philosophical glance at the specific phenomenon of Hegel's own aesthetics, in an attempt to begin to evaluate just a few of its most distinctive characteristics (in part 2), I will proceed by first offering a sketch of how I believe his philosophy as a whole should be situated in the context of its own age and the development of German philosophy in general (in part 1).Of course, my own interpretive perspective has its own context, external and internal. The external context is furnished by two other accounts providing slants on Hegel's aesthetics, slants that I believe are very understandable but in the end inadequate. The first of these slants is given by what I will call the “standard account,” which buys into most of Hegel's own characterization of his aesthetics (like his philosophy in general) as largely a welcome “objective” corrective to the supposedly “subjective” approach of Kant and the allegedly even more radically “subjectivistic” and arbitrary approach of the German Romantics. The second slant is to be found in Jean-Marie Schaeffer's recent book, Art of the Modern Age: Philosophy of Art from Kant to Heidegger. Schaeffer accepts much of the standard account, but he goes on to argue in an original way that the main aesthetic tradition of Germany — after Kant, from the early Romantics to Hegel and others until Heidegger — shares a large set of influential and highly questionable “speculative” presumptions, and that the sharing of this speculative approach is far more significant — and unfortunate — than whatever incidental differences can be found between various figures within this tradition.
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Borges, Jorge Luis, and Robert Mezey. "The Temptation." Hudson Review 44, no. 3 (1991): 413. http://dx.doi.org/10.2307/3851967.
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Nickel, Helmut. "The Naked and the Best: Tests, Temptations, and Triumphal Rescues." Arthuriana 9, no. 3 (1999): 81–96. http://dx.doi.org/10.1353/art.1999.0066.
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Jaron, S. "On Trust: Art and the Temptations of Suspicion." Comparative Literature 53, no. 2 (January 1, 2001): 170–72. http://dx.doi.org/10.1215/-53-2-170.
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