Inkarnacija i umjetnost Šimić, Krešimir
Kairos (Hrvatsko izd.),
05/2009, Letnik:
3, Številka:
1
Journal Article
Odprti dostop
Although art in its symbolic and aesthetic dimension has always been an important means for religious communication, it seems that in the secular world – when the traditional theological discourse ...becomes incommunicative – it becomes an autonomous theological scope, notably because it becomes a potential source of new theological cognition as well as a conclusive medium of communication, that is, a new discourse on faith. However, the philosophy of art which has been around for two millennia – notably from Martin Heidegger – began to observe art from an ontological perspective. Thus, art became not only a decoration of culture, but also the location for the manifestation of the Being, as indeed setting up the truth (M. Heidegger). Thereby the philosophy of art has approximated the theology of the core Christian incidence of the revelation: the incarnation of the Son of God, the Logos. Therefore it seems that the ontological deliberation of art as indeed setting up the truth viewed from a theological perspective allows, on the one hand, a clearer articulation of the theology of incarnation, and, on the other hand, the theology
of incarnation offers valuable impulses for an ontologically based philosophy of art. In this paper, by analyzing the philosophy of art, precisely Heidegger’s ontology of the art, the author will endeavor to abstract the possible incentives for a theology of incarnation.
Due to its peculiar rendering of the myth of Orpheus, the mythological drama Orfeo (Orpheus) by Croatian poet Mavro Vetranović (1482–1576) has caused Croatian literary critics to approach it from the ...standpoint of comparative literature, seeking to discover the source of his depiction of Eurydice turning back (rather than Orpheus). Yet, its source has not been discovered. Therefore, the present study seeks to point out that a similar literary motif exists in Alphus: De natura mulierum by the well known Mantovan Bapttista Spagnuoli Mantuano as well as in the poem
Orpheus’ Song by Robert Greene. Since Greene’s poem was written later, this study seeks to explore the connections between Mavro Vetranović and Bapttista Spagnuoli Mantuano.
Kupido, odnosno Amor, u medijevalnoj i ranonovovjekovnoj književnoj
kulturi nije bio samo ornamentalni ukras već se "širenjem svoga područja identiteta uključio u cultural work" (J. Kingsley-Smith). ...U radu se stoga, nakon kratkoga prikaza kupidijanske topike u antičkoj, medijevalnoj i renesansnoj književnoj i ikonografijskoj kulturi, analizira koncipiranje i uloga Kupida u Pjesanci mladosti prvoj Mavra Vetranovića.
A well accepted thesis in contemporary criticism is that to a significant extent contemporary literary criticism and fiction are (if it is appropriate, after post-structural studies, to discuss ...fiction as “thing-in-itself” – “Ding an sich”) marked as “political” (which is not a mere instrument of governing but a structural condition of human relations that cannot be placed in higher categories). It is enough to remember the Russian formalists and authors of Marxism and post-Marxism. Although to a certain extent in accordance with French and British authors (influenced by the tradition of Marxism, structuralism and post structuralism), the American theoretician Richard Rorty has decided to write on the relationship between literature and liberal democracy from a different tradition, that of pragmatism. The article presents Rorty's key terms: poetic culture, redescription, irony, contingency and solidarity. It then presents objections to the project of poetic culture (Joseph Rouse, Charles Taylor, Jürgen Habermas). Finally, the article brings out the idea of the "kenotic culture".
Kupido, odnosno Amor, u medijevalnoj i ranonovovjekovnoj književnoj kulturi nije bio samo ornamentalni ukras već se "širenjem svoga područja identiteta uključio u cultural work" (J. Kingsley-Smith). ...U radu se stoga, nakon kratkoga prikaza kupidijanske topike u antičkoj, medijevalnoj i renesansnoj književnoj i ikonografijskoj kulturi, analizira koncipiranje i uloga Kupida u Pjesanci mladosti prvoj Mavra Vetranovića.
Nakon otkrića peraštanskog i milanskoga rukopisa, odnosno cjelovita teksta Vetra-novićeve Istorije od Dijane, o tom se dramskom djelu nije mnogo pisalo. U članku se ukazuje na jednu scenu s kraja ...djela. Riječ je o Merkurijevoj intervenciji nakon koje Dijana oslobađa Kupida. U intervenciji glasnika bogova nailazimo na prokreativno tumačenje erosa, što je stanoviti specifikum u odnosu na druge hrvatske, a moguće i šire, šesnaestostoljetne pastorale.
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