The notion of transcendental love in the context of “the eternal return”, the motif of Eros, and the image of a woman are discussed in Marcelijus Martinaitis’s book “Atmintys: meilės lyrikos ...albumas” (Eng. Reminiscences: the album of love lyrics”) (2008). The methods of mythopoetic thought, comparativistics, and interpretative mind have been applied. On the basis of the Bible, mythology, the notion of and relation between Eros and Love, also combining notions developed by philosophers as Nikolai Berdyaev, Erich Fromm, Vladimir Solovyev, phenomenologists as Algis Mickūnas, Mircea Eliade, Plato, and insights by popes Paul VI and Benedict XVI, a concept which might be useful in deciphering the language of love in Marcelijus Martinaitis’s book is introduced. The primary code of the album of love is the concept of memory and the notion of love as seen by Oskaras Milašius, while the secondary code relates to Dante, chivalric romance of Provence troubadours, legends of King Arthur, Celtic mythology. The genre of M. Martinaitis’s reminiscences was born when the poet was studying in Gervinės, and the first collection of Reminiscences appeared in 1986. The text of Reminiscences was seen as hermetic, intertextual, reflecting the act of cosmogony and antropogony in permanent space-time. The process of word re-creation is associated with archetypal consciousness, and the cycle of “the eternal return” prevails. Love is perceived as transcendental and existential basis, a purpose to merge with God, God’s gift to humanity, and the vision of love object. Eros (passion) is ambivalent: it is earthly / heavenly, sinful / divine, creating / destructive, and driving power of creation. A woman is seen as earthly / sensual, divine / unreachable. An issue which motif (Christian or courtesan literature) dominates in the album of love lyrics is discussed. Album is of great interest as an immanent text.
Straipsnyje ieškoma Marcelijaus Martinaičio meilės koncepcijos knygoje Atmintys: meilės lyrikos albumas (2008). Meilės samprata atskleidžiama derinant mitopoetinės kritikos, komparatyvistikos ir interpretacijos metodus. Atraminiais taškais pasirinkta Biblija ir mitologija. Meilės ir Eroso konceptai tiriami remiantis ir jungiant Nikolajaus Berdiajevo, Ericho Frommo, Vladimiro Solovjovo, Algio Mickūno, Mirce'os Eliade, Platono sampratas bei popiežių Pauliaus VI ir Benedikto XVI kerigmą. Meilės albumą padeda iššifruoti atminties supratimas, pagrįstas Henri Bergsono filosofija; meilės koncepciją – Oskaro Milašiaus, Antikos, Viduramžių, Renesanso mitų meilės samprata. Atminčių tekstas traktuojamas kaip hermetiškas, intertekstualus, reflektuojantis kosmogonijos ir antropogonijos aktą permanentiniame erdvėlaikyje. Pasaulio perkūros procesas sietinas su archetipine sąmone, vyrauja „amžinojo sugrįžimo“ ciklas. Meilė – transcendencijos pamatas, egzistencijos pagrindas ir siekiamybė susilieti su Dievu, Dievo dovana žmonijai, meilės objekto regėjimas. Erosas (aistra) ambivalentiškas: tai žemiškoji / dangiškoji, nuodėmingoji / dieviškoji, kuriančioji / griaunančioji varomoji kūros jėga. Moteris – žemiškoji / geidulingoji, dieviškoji / nepasiekiamoji. Sprendžiamas klausimas, kuris motyvas – krikščioniškosios ar kurtuazinės literatūros – vyrauja meilės lyrikos albume.
The notion of transcendental love in the context of “the eternal return”, the motif of Eros, and the image of a woman are discussed in Marcelijus Martinaitis’s book "Atmintys: meilės lyrikos albumas" ...(eng. "Reminiscences: the album of love lyrics") (2008). The methods of mythopoetic thought, comparativistics, and interpretative mind have been applied. On the basis of the Bible, mythology, the notion of and relation between Eros and Love, also combining notions developed by philosophers as Nikolai Berdyaev, Erich Fromm, Vladimir Solovyev, phenomenologists as Algis Mickūnas, Mircea Eliade, Plato, and insights by popes Paul VI and Benedict XVI, a concept which might be useful in deciphering the language of love in Marcelijus Martinaitis’s book is introduced. The primary code of the album of love is the concept of memory and the notion of love as seen by Oskaras Milašius, while the secondary code relates to Dante, chivalric romance of Provence troubadours, legends of King Arthur, Celtic mythology. The genre of M. Martinaitis’s reminiscences was born when the poet was studying in Gervinės, and the first collection of Reminiscences appeared in 1986. The text of Reminiscences was seen as hermetic, intertextual, reflecting the act of cosmogony and antropogony in permanent space-time. The process of word re-creation is associated with archetypal consciousness, and the cycle of “the eternal return” prevails. Love is perceived as transcendental and existential basis, a purpose to merge with God, God’s gift to humanity, and the vision of love object. Eros (passion) is ambivalent: it is earthly / heavenly, sinful / divine, creating / destructive, and driving power of creation. A woman is seen as earthly / sensual, divine / unreachable. An issue which motif (Christian or courtesan literature) dominates in the album of love lyrics is discussed. Album is of great interest as an immanent text.
This article draws from Gilles Deleuze’s interpretation of the Nietzschean concept of “the eternal return” in order to read Jim Jarmusch’s film Broken Flowers as being not merely a study in duration, ...apathy and reactive nihilism, but also a film which, through its formal repetitive structure, also offers pathways to transformation and affirmation. As such, I argue that the central protagonist, Don Johnston undergoes a subtle yet crucial change in the course of the film from a state of ressentiment to affirmation and becoming. I also characterise the film as an absurdist quest or road movie.
Lars von Trier's film, Antichrist (2009), is in this article seen within the philosophical framework of Friedrich Nietzsche's The
Anti-Christ (1888) and the filmic inspiration of Andrey Tarkovsky's ...The Sacrifice (1886). The overall question of the Dionysian orgy, sacrifice and rebirth of nature is also related to the negative picturing of the woman and the devil (Antichrist) in Malleus Maleficarum (1486), that form a central reference for the imagery in the film. Trier's composition and use of the haptic image as a denominator of a virtual time, where an eternal return of the same might take place, is finally seen as an aesthetic comment on the contemporary real-time control of media.
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