scholarly journals Odcieleśnione ciało w filmie Nakarmić kruki Carlosa Saury

2019 ◽  
Vol 25 (34) ◽  
pp. 180-188
Author(s):  
Kamila Kulessa
Keyword(s):  
Spatial Structures ◽  
Bodily Presence ◽  
Temporal And Spatial

This article aims at providing an analysis of Carlos Saura’s Cria Cuervos [Raise ravens, 1976], focused mainly on the temporal and spatial structures of the film. It explores the dimensions of bodily presence, especially the means of representing spectral body in cinematic image.

Critiques and Integrations of Phenomenology

2018 ◽  
pp. 87-95
Author(s):  
Federico Leoni
Keyword(s):  
Twentieth Century ◽  
Michel Foucault ◽  
Jacques Derrida ◽  
Gilles Deleuze ◽  
Spatial Structures ◽  
Temporal And Spatial ◽  
Way Of Thinking

Phenomenology played a central role in twentieth-century philosophy. But, from the second half of the century, many alternative philosophical movements emerged. Despite their radical criticism of phenomenology, they regularly touched upon themes that had been originally propounded by phenomenology itself. This is true of Jacques Derrida, Michel Foucault, and Gilles Deleuze. At the basis of their approaches, there is the need for a new version of the transcendental, the idea of an impure transcendental, and the intuition of a non-transcendental structure of the transcendental, which they all name “difference.” Phenomenology could draw useful insights from these perspectives: e.g., a more continuous view of the range of psychopathological experiences; a more exact comprehension of the different temporal and spatial structures of psychopathological worlds, as the internal possibilities and infinitesimal variations of the transcendental; and a more critical way of thinking through the structure of institutions and the normativity that dominates them.

Maṇḍala within the Rock: The Visualization of the Mahāmāyūrī-vidyārājñī and its Altar in Southwestern China, 9th–13th Centuries

2020 ◽  
Vol 74 (4) ◽  
pp. 945-983
Author(s):  
Xiao Yang
Keyword(s):  
Sichuan Basin ◽  
Southwestern China ◽  
Spatial Structures ◽  
Text And Image ◽  
Esoteric Buddhism ◽  
The Sichuan Basin ◽  
Temporal And Spatial

Abstract This paper considers visualizations in Chinese medieval esoteric Buddhism in seven sculptural tableaux of the Mahāmāyūrī-vidyārājñī (Peacock Wisdom King 孔雀明王) from rock carving sites in the Sichuan Basin, Southwestern China. Early scholars highlighted the authority of Amoghavajra’s ritual manual for the Mahāmāyūrī images in this area, yet divergences between text and image hold them back from further interpretation. This paper reinvestigates these Mahāmāyūrī shrines “dialectically” by considering the text-image relationship. While keeping Amoghavajra’s ritual manual as a reference, it attempts to decode the meaning of the images and sites based on their own content, and to extrapolate from the text-image divergences how artistic productions and esoteric practices could lead to the presence of such divergences. This involves discussing artistic forms and decorative elements appropriated from exoteric Buddhism, as well as adjustments to the central icon and adjacent narrative scenes weaved within the temporal and spatial transitions. It also includes observations on the grouping between the Mahāmāyūrī and other deities in the larger iconographic program in their affiliated rock-cut sites, which reflects the interaction between this esoteric teaching and other popular beliefs. At least four out of seven examples share the same hierarchical iconographic programs or signature spatial structures similar to the Mahāmāyūrī altar prescribed in Amoghavajra’s ritual manual. It takes these visual or spatial similarities as concrete evidences that the construction of these shrines intended to make altars/maṇḍalas, although in two different ways to represent the esoteric altar and to create a space to conduct such a ritual.

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