This study, whose theme is romantic love, for being it is a timeless theme in all cultures and literatures, aims to demonstrate the correspondences in the loving lyric of Oswaldo Osorio and Vinicius ...de Moraes, and has as a background The Four Loves,by C. S. Lewis, whose terms, storge, philia, erosand agape constitute the axes of approach to the loving aesthetics of the two authors, especially in the construction of the female figure, emphasizing their passion, sensuality, gentleness, delicacy and strength. In this sense, the research is based on a theoretical perspective--which is linked to the orientation of Comparative Literature, with a multidisciplinary dimension, in a dialogue close to the studies of Mikhail Bakhtin, Julia Kristeva, Harold Bloom, Earl Miner or Tania Carvalhal--as well as a brief presentation of the context of the temporal, dialogism and intertextuality between life and the work of the two authors, taking into account the identity and literary systems of each one. It is observed that the romantic loving aesthetics of vinician and osorian texts present plural senses constructed under the objective reality and ideal of these poetic subjects--each one in his space and in his time--converging in the way they exalt love, femininity and eroticism.
This study, whose theme is romantic love, for being it is a timeless theme in all cultures and literatures, aims to demonstrate the correspondences in the loving lyric of Oswaldo Osorio and Vinicius ...de Moraes, and has as a background The Four Loves,by C. S. Lewis, whose terms, storge, philia, erosand agape constitute the axes of approach to the loving aesthetics of the two authors, especially in the construction of the female figure, emphasizing their passion, sensuality, gentleness, delicacy and strength. In this sense, the research is based on a theoretical perspective--which is linked to the orientation of Comparative Literature, with a multidisciplinary dimension, in a dialogue close to the studies of Mikhail Bakhtin, Julia Kristeva, Harold Bloom, Earl Miner or Tania Carvalhal--as well as a brief presentation of the context of the temporal, dialogism and intertextuality between life and the work of the two authors, taking into account the identity and literary systems of each one. It is observed that the romantic loving aesthetics of vinician and osorian texts present plural senses constructed under the objective reality and ideal of these poetic subjects--each one in his space and in his time--converging in the way they exalt love, femininity and eroticism. Keywords: Romantic love, similarity, intertextuality, poetry. Este estudo, cujo tema e o amor romantico, por ser uma tematica atemporal em todas as culturas e literaturas, objetiva demonstrar as correspondencias na lirica amorosa de Oswaldo Osorio e Vinicius de Moraes, tendo como pano de fundo a obra Os Quatro Amores, de C. S. Lewis, cujos termos, storge, philia, eros e agape se constituem em eixos de abordagem a estetica amorosa dos dois autores, sobretudo na construcao da figura feminina, enfatizando a sua paixao, sensualidade, brandura, delicadeza e forca. Neste sentido, a pesquisa fundamenta-se numa perspetiva teorica--que se vincula a orientacao da Literatura Comparada, com uma dimensao multidisciplinar, num dialogo proximo dos estudos de Mikhail Bakhtin, Julia Kristeva, Harold Bloom, Earl Miner ou Tania Carvalhal--assim como numa apresentacao breve do contexto temporal, do dialogismo e intertextualidade entre a vida e a obra dos dois autores, tendo em conta a identidade e os sistemas literarios de cada um. Constata-se que a estetica amorosa romantica dos textos vinicianos e osorianos apresentam sentidos plurais construidos sob a realidade objetiva e ideal destes sujeitos poeticos--cada um no seu espaco e no seu tempo convergindo na forma como exaltam o amor, a feminilidade e o erotismo. Palavras-chave: Amor romantico; semelhanca; singularidades; intertextualidade; poesia.
Affective meditation on the Passionwas one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like ...texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.Affective Meditation and the Invention of Medieval Compassionadvances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp'sLibellusto theMeditationes vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love'sMirrorand a wide range of Passion lyrics and laments,Affective Meditation and the Invention of Medieval Compassionilluminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.
El artículo está dedicado a funcionar en el tipo moderno de formación de palabras en ruso con el sufijo phrase omitted (?) / - phrase omitted (?) como un medio para expresar la categoría derivada de ...la feminidad. El material lingüístico del estudio está representado por 459 lexemas con el sufijo phrase omitted (?), que funciona en contextos modernos. Se dan las características semánticas y estilísticas del tipo considerado de formación de palabras. Se llega a la conclusión sobre la productividad y la universalidad de las feminitivas phrase omitted (?) / - phrase omitted (?) en el ruso moderno, lo que les permite permanecer en el centro de la categoría de feminidad de formación de palabras.
In recent years there has been rising popular discourse around 'toxic masculinity', and the problems of a hegemonic gender structure that facilitates male violence and misogyny. In the public debate ...over whether toxic masculinity is fact or fiction, 'toxic femininity' is often raised by men's rights activists and others as an anti-feminist retort, to suggest that women can be 'toxic' too. This paper provides a sketch of how the term has been used so far, in tandem with an overview of the limitations of the more extensively discussed idea of 'toxic masculinity'. This paper suggests that rather than deploying 'toxic femininity', it is more useful to consider what might be 'toxic' about some approaches to femininity. Drawing on existing theories of femininity, including emphasised, hegemonic, normative, patriarchal femininity, pariah femininities, and femmephobia, this paper offers the notion of 'rigid femininities' to explain the structures that keep us locked into a 'toxic' gender system. This paper utilises the term toxic femininity as a jumping-off point for theorising femininity broadly. In theorising femininity, this paper offers a conceptualisation of the 'toxic' attachments that reinforce the gendered power structure/essentialized gender.
El texto se centra en la comprensión de los cánones de belleza femenina registrados y publicitados por la revista Cromos, publicación colombiana de circulación nacional que fomentó ideales estéticos ...sobre el cuerpo de las mujeres para resaltar su feminidad. El artículo se adscribe al campo de la historia cultural que permite caracterizar expresiones y representaciones, en este caso, centrado en el reconocimiento de los significados de belleza y elegancia, donde la belleza es un atributo que se consigue conjugando armonía y normalidad, que además se convierte en un bien de consumo; la belleza durante este periodo (1916-1929) se asocia con un aspecto juvenil: cutis blanco, piel tersa y cabellos sin canas. Mientras que la elegancia se refleja en la expresión del rostro y en la figura esbelta, que se relaciona con la apariencia de una mujer moderna, es decir, la mujer que debe enfrentarse a roles laborales y educativos.
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