Giorgione'sTempest, StudioloCulture, and the Renaissance Lucretius*

2003 ◽  
Vol 56 (2) ◽  
pp. 299-332 ◽  
Author(s):  
Stephen J. Campbell
Keyword(s):  
De Rerum Natura ◽  
The Tempest ◽  
Lightning Bolt ◽  
Essential Connection ◽  
Specific Interests ◽  
The Way

AbstractThe invention of Giorgione's much-interpreted painting known asThe Tempestcan be explained with reference to theDe rerum naturaof Lucretius. Lucretius provides the essential connection between the main elements of the painting: a male 'wanderer,' a lightning bolt, broken columns, a naked, nursing female, and a landscape rendered according to momentary, fleeting appearances. The invention of the painting also responds to the way Lucretius was read around 1500, to the specific interests of the poet's Renaissance readers and imitators, and to forms of self-cultivation associated with the ownership of astudiolo.

The Palingenesis of De rerum natura

1994 ◽  
Vol 40 ◽  
pp. 81-107 ◽  
Author(s):  
Alessandro Schiesaro
Keyword(s):  
Subject Matter ◽  
De Rerum Natura ◽  
Starting Point ◽  
The Subject ◽  
The Way

1. If I had to sum up as concisely as I possibly can the subject matter of this paper, I would probably say that it was originally stimulated by the attempt to understand how Lucretius articulated his didactic plot. What is the plot of a poem that presents itself as analysing nothing less than ‘the nature of things’? It is safe to assume as a starting-point that a didactic poem which intends to revolutionize each and every principle of perception and evaluation of reality cannot remain unaffected by the theoretical views it tries to prove, and that the persuasive impact of those theories on the reader will inevitably be strengthened or weakened by the way the text situates itself in respect to those theories: the poem itself will be the most effective or the most damning example of its own theories.

Show the Heavens More Just: Ordering Society in Utopia, King Lear, and The Tempest

Moreana ◽  
2008 ◽  
Vol 45 (Number 174) (2) ◽  
pp. 193-210
Author(s):  
Arthur Kincaid
Keyword(s):  
Sense Of Community ◽  
Natural Law ◽  
Active Participation ◽  
King Lear ◽  
Thomas More ◽  
The Tempest ◽  
Legal Problems ◽  
The Way

Using essentially dramatic methods, creating an imaginary country, and setting up moral tension by having characters interact in a realm of complex ideas, Thomas More in Utopia draws the reader into active participation. Later, Shakespeare carries forward some of the ideas introduced in Utopia. In King Lear he responds to similar social and legal problems, and in The Tempest, inspired like More by recent discoveries of new lands, invents a strange world. Using georgic or pastoral dimensions, both authors explore the nature/nurture theme. While implying Christian ideals, More sets his fictive world outside Christianity, introducing it explicitly as the work reaches its conclusion - a technique Shakespeare echoes. By stimulating imaginative sympathy in their audience, these works open the way to a sense of community which accords with natural law.

scholarly journals Theology as a Sacrament of Hope

Lumen et Vita ◽  
2015 ◽  
Vol 5 ◽  
Author(s):  
Margaret Blume
Keyword(s):  
Thomas Aquinas ◽  
Good News ◽  
The Sun ◽  
Human Beings ◽  
Poetic Form ◽  
Summa Theologiae ◽  
The Tempest ◽  
Dramatic Structure ◽  
Ordinary Time ◽  
The Way

In his exegesis of the Transfiguration, Thomas Aquinas says that the vision of divine glory was given to Peter, James, and John in order to prepare them for Christ’s imminent Passion and Resurrection (Cf. Thomas Aquinas, Summa Theologiae III, Q.45). The brilliance of Christ’s face shining like the sun (cf. Mt. 17:2) strengthened the apostles so that they would not lose heart during the darkness that would come, but would wait for Christ’s splendor to be revealed again after the Resurrection. The entire mystery is an icon of hope, for it shows that visions of glory are always given as part of a journey towards their fulfillment. “It is good for us to be here,” Peter recognized, but the apostles were not brought up to the mountain to remain there. The revelation sent them back down the mountain to fare forward in hope. In this paper, I would like to suggest that the work of theology is meant to share in the mystery of the Transfiguration, and thus cultivate the virtue of hope. In this task, theology can learn from literature, for the way of revealing is as important as the message to be revealed. I would like to propose Shakespeare’s The Tempest as a model. In its dramatic structure and wonder-inspiring poetic form, The Tempest participates in the mystery of the Transfiguration, sending the audience away from the strange island refreshed and reoriented, set on the way with Prospero towards freedom. The play challenges theology to present the Good News of the Gospel in a way that makes the glory of the Lord visible by the radiance of its form, and interrupts into ordinary time, like the storm with which The Tempest begins, so that the revelation is not an end in itself.  If theology is able to set human beings on a journey by cultivating patience and wonder in the very way it reveals, then it will effect the mysteries that it signifies, and truly impart Christian hope.

Der Walpurgisnachtstraum in Goethes Faust: Entwurf, Gestaltung, Funktion

PMLA ◽  
1969 ◽  
Vol 84 (3) ◽  
pp. 476-491 ◽  
Author(s):  
Von Walter Dietze
Keyword(s):  
Basic Principle ◽  
Wolfgang Amadeus Mozart ◽  
Small World ◽  
Social Criticism ◽  
The Tempest ◽  
Complete Work ◽  
Concrete Characterization ◽  
The Relationship ◽  
The Way

The 176 verses (44 epigrams) of the Walpurgis Night's Dream in Faust, Part I, are structurally divided into three themes and contain elements of aesthetics, cognition theory, and social criticism. In the relationship between Walpurgis Night and Walpurgis Night's Dream, overlapping tendencies toward concrete characterization and abstract figure-allegories pave the way for that interrelation of the “big” and “small” world which is the basic principle of the artistic link between Faust, Part I, and Faust, Part XI. With polemical intentions, Goethe draws a series of types and characters which, as a body, must be understood in the sense of Hegel as an “abolition” of irony in romanticist comedies. In regard to tradition, borrowings from Shakespeare's Midsummer Night'sDream and The Tempest are combined with adaptations of Domenico Cimarosa and the operas of Wolfgang Amadeus Mozart. It is the inherent unity of seriousness and levity, of the tragic and the comic, of constructive profoundness and slapstick in all these elements which give Walpurgis Night's Dream an important but up to now functionally underestimated place in the complete work of Faust. (In German)

scholarly journals Paean to Bicillin L-A ® and the End of Harry Harlow's Rhesus Monkey Experiments

2020 ◽  
Vol 6 (1) ◽  
Author(s):  
Peggy Munson
Keyword(s):  
Rhesus Monkey ◽  
Isolation Chamber ◽  
Know How ◽  
The Tempest ◽  
The Way

I was in Harry Harlow's “Pit of Despair,” that walled isolation chamber with a one-way mirror: spent months there, rocking like a horse turned wooden by the blank stare of a mute whisperer into part of an attic's unaccounted boneyard.  I do know how it feels to suckle at a wire mother, because a tin mom's teleprompter was the script given me by captors whose transgenic faces tarred my raptor-feathered fight.  Isolation, that velvet rope of triage that cannot be deveined, spelled out America's subliminal apartheids like a bride's soft skin that lives within her hardened marriage.   I started off homebound, a leitmotif of the Mandela Effect, once a latchkey kid, keyed up in the collective amygdala, then gently cordoned off the way a capsized crew is threaded off from where they tread together until one of them goes lost.  Later, I was rigid as the monkey huddled in a corner, egg-eyed like the tempest of an anthropomorphic psychosis that society sections away.  That monkey's mutagenic life became the DNA of all human cruelty. I pined for touch while the chemical cartel nudged me with its ammonia waves, and even now, I cry for the word felt. 

scholarly journals Teatro Praga’s Omission of Shakespeare – An Intercultural Space

2017 ◽  
Vol 15 (30) ◽  
pp. 91-104
Author(s):  
Maria Sequeira Mendes
Keyword(s):  
Stage Design ◽  
Midsummer Night's Dream ◽  
The Tempest ◽  
A Midsummer Night's Dream ◽  
Theatre Company ◽  
Henry Purcell ◽  
The Way

Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.

Utopias in The Tempest

Pólemos ◽  
2017 ◽  
Vol 11 (1) ◽  
Author(s):  
Simona Laghi
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Human Reason ◽  
The Tempest ◽  
Modern Period ◽  
New Concepts ◽  
Social Turmoil ◽  
The Way

Abstract The Early Modern period is characterised by political and social turmoil, so the investigation of new forms of government develops with the aim to restore peace and stability. The theological idea of sovereignty reveals the weakness of its foundational principles, which are overtaken by a renewed interest in scientific discoveries and an increasing faith in human reason. As a consequence of all this, new concepts of government arise and spread in Europe, opening the way to new political and social scenarios. In the circumscribed space of the unknown island in

From Blueblood to Trueblood: Ngugi wa Thiongo’s and Ralph Ellison’s Rewritings of Conrad’s "Lord Jim"

Tekstualia ◽  
2015 ◽  
Vol 2 (41) ◽  
pp. 183-196
Author(s):  
Tadeusz Pióro
Keyword(s):  
The Novel ◽  
Invisible Man ◽  
Incest Taboo ◽  
The Tempest ◽  
Divine Retribution ◽  
Heart Of Darkness ◽  
British Colonial ◽  
Ideological Critique ◽  
Intertextual Connections ◽  
The Way

Postcolonial re-writings of Joseph Conrad’s works rarely make use of Lord Jim, Ngugi wa Thiongo’s A Grain of Wheat being one of the few exceptions. It is also a rare example of a re-writing in which evident intertextual connections ( in this case to Under Western Eyes and Heart of Darkness, as well as The Tempest) conceal other, more deeply embedded ones (Lord Jim). Ngugi’s version of Lord Jim has at its center John Thompson, the British antagonist of all the Gikuyu characters in the novel, and a parodic embodiment of Lord Jim’s dreams of power and glory. The most salient difference between Thompson and Jim lies in the way in which they perceive their own status within the British colonial enterprise. The Oxonian Thompson is fully conscious of the ideological implications of his occupation, while uneducated Jim can barely see the surface of his. Thompson’s state-sanctioned escape from Kenya on the day of its regaining independence, read as a parody of Jim’s escape from the Patna, opens the fi eld for an incisive ideological critique of the colonial contexts of Jim’s tragedy. Ralph Ellison’s rewriting of Lord Jim is limited to the Trueblood episode of Invisible Man and focuses on the main character’s breaking of the incest taboo, which may be compared to Jim’s abandoning ship. Trueblood’s attempt to „move without moving” echoes Jim’s account of his purportedly unconscious jump from the Patna. While Jim, as well as Marlow, present these events and those that occur later, in Patusan, as versions of the Greek tragic paradigm of human transgression and divine retribution, Ellison brings Trueblood’s transgression down to a more quotidian level, substituting a family tragedy in which the gods do not intervene for the pathos with which Conrad endows Jim. Norton in this version of Conrad’s novel serves a similar purpose – he is the parodic, downsized equivalent of Brierly, the captain who commits suicide after realizing that if he had found himself in Jim’s position on the Patna he would have done the same thing. Compared with the reality of a black sharecropper’s life in Alabama, Jim’s obsession with valor and honor, as well as his lust for adventure, are simply infantile, and the imperialist underpinnings of his transgression make it a parody of taboo-breaking. Ellison’s „signifying” on Lord Jim, as far as I know, has not been hitherto noticed by critics.

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