Narcissus

Ce livre aborde le mythe de Narcisse à partir de ses sources antiques et propose d’étudier ses répercussions dans l’art du XXe siècle.
Ce mythe constitue un archétype culturel ponctuant la littérature et l’histoire de l’art occidentales et se trouve à l’origine d’une stratégie de représentation confrontant la personne à sa propre image par le biais d’un médium. La présente étude met à jour les situations d’illusion qui structurent ce récit fondateur dans chacune de ses variations et considère leur reformulation en termes visuels : dans l’oeuvre du Caravage et de Poussin notamment, puis à travers différents exemples tirés de l’activité artistique du XXe siècle jusqu’à nos jours.
A ce titre, la métamorphose de Narcisse en une notion – le narcissisme – et surtout sa réélaboration par le biais de l’image – le stade du miroir – sont mises en confrontation avec le mythe. Fort des différentes strates historique, exégétique et visuelle recouvrant l’histoire de Narcisse, ce livre propose une étude de cas choisis dans le travail de trois artistes, Francis Bacon, Bill Viola et Jeff Wall. Les trois corpus d’oeuvres sélectionnés exemplifient chacun l’exploitation d’un médium artistique différent: la peinture, la vidéo et la photographie. Ils proposent un effet de réverbération du mythe et/ou de ses instanciations visuelles, et plus encore interagissent entre eux, communiquant parfois même par la grâce d’une référence explicite d’un artiste à un autre, de telle sorte que cet ouvrage s’érige en un circuit thématique cohérent.

Deriving from the myth of Narcissus, in which a beautiful youth falls in love with his own reflection, the concept of narcissism was given its first systematic treatment in Sigmund Freud's 1914 essay “On Narcissism.” Since Freud's account of narcissism remains the starting point for most subsequent discussions of the topic, this entry begins with a brief summary of Freud's views before moving on to consider some of the major questions that have consistently arisen in philosophical treatments of narcissism and self‐love. How ought we to draw the line between healthy self‐esteem and pathological narcissism? Given the apparently ubiquitous presence of “the dear self” (to use Kant's term) in human consciousness, what would it mean to cultivate a truly nonnarcissistic concern for others, and is such a thing possible – or even desirable?

Due saggi, apparsi nello stesso volume, relativi l'uno all'interpretazione di un erbario alla luce del mito antico, l'altro alla paternità stessa dell'erbario, che si lega, attraverso curiose vicende, all'opera di Giorgio Santi, professore di scienze naturali dell'Università di Pisa alla fine del secolo XVIII.

In 1929 Nikolas Calas photographed himself in a mirror of a wardrobe, in a room in Tinos with a hand-held camera (ΕΛΙΑ L003.124). The camera is not visible at first sight, as Calas tries to ‘hide’ it, positioning it in front of his tie. This self- portrait is a manifestation of early self- portraying in photography and can be compared to other modernist self-portraits of the time, especially the ones, where the camera is not visible but somehow hidden in the shadow (for e.g. Lotte Jacobi, ‘Autoportrait’, 1937).
When examining Calas’ poetry and prose texts it is noticeable, that mirrors are a constant motive, as I will try to show. Especially interesting is the connection between mirrors and translation, for example in the correspondence with Williams Carlos Williams, regarding the translations of Calas’ french poems ‘Wrested from Mirrors’, ‘The Agony Among the Crowd’, ‘Narcissus in the Desert’ and ‘To Regain the Day Again’ into American. Williams is borrowing the metaphor of the mirror from Calas thematizing the translator as the other, as a reflection of the original. By analyzing the metaphor of the mirror it is possible as well to reconsider the use of the Pseudonyms of Nikolas Calamaris as a reflection of himself.
After this considerations I will end my talk with the portfolio of prints and objects by eleven artists (Vincenzo Agnetti, Arakawa, Joseph Beuys, Marcel Broodthaers, Richard Hamilton, Roy Lichtenstein, Bruce Nauman, Meret Oppenheim, Robert Rauschenberg, Man Ray, James Rosenquist) introduced by Nikolas Calas and edited in 1975 with the title Mirros of the mind.

In the scheme of the Greek myths of masculine love, the myth of Ameinías and Narkissos falls in the category of myths depicting "hubristic eromenoi" (a category that also includes the myth of Promachus and Leucocomas), in other words, boys who abuse their men lovers. This reconstruction attempts to restore the original form of the myth, not the modified story later published by Ovid in his "Metamorphoses," a myth hijacked by the poet (as was the custom in antiquity) to serve his need for tales of transformation.

The name of the protagonist is rendered here as a transliteration of the original Greek form, as a reminder of its origin in the Greek word narkē meaning numbness, or insensibility. From that root we derive words such as narcotic, and narcosis, a state of stupor. Therefore the name of Narkissos is a signifying name. It  tells us that he represents the archetype of a youth who is numb and insensible to the feelings of other people. In particular, his stupor shuts him off from the love of his lovers, men whose role in Ancient Greek society was to make their beloveds better.

As Aelian describes it, “Lovers’ affection for their beloved has a remarkable power of stimulating the virtues, if the former are themselves worthy of respect." (3.9, 3.10 Var. Hist. in LCL 1997 p.135; Tr. N. G. Wilson) In this context, the suicide of Narkissos can be read as symbolizing the intellectual and social death to which a sullen and unresponsive youth fated himself, if unwilling to reciprocate the well-meaning interest of honorable men. Thus, while in modern times the name "Narcissus" has all kinds of positive romantic and floral connotations, its original intended sense as used in this myth is much closer to "Callous Dolt."

Celebrity and fame can have detrimental effects for poems as for individuals. Poems cherished by 'ordinary people,' - and I could add Robert Browning's 'The Pied Piper of Hamelin' to this number - arouse the suspicions of experts with a low view of public taste. Much depends on what wealth of significance lies deep in individual words.
Further reading:

http://www.lulu.com/shop/julian-scutts/the-emergence-of-the-poetic-wanderer-in-the-age-of-goethe/ebook/product-23196066.html

http://www.lulu.com/shop/julian-scutts/in-pursuit-of-verbal-clues-detected-in-the-body-of-literature/paperback/product-23751148.html

http://www.lulu.com/shop/julian-scutts/the-word-in-poetry-and-its-contexts/paperback/product-23135212.html

The article offers a comparative analysis of Ovid's stories of Narcissus and Pygma-lion. The analysis highlights the intertextual link between the two narratives, and uses it as the basis for comparison, focusing on the single aspect: who creates what, and how. The paper concludes that what is at stake in the two texts at a fundamental level can be found in the sphere of aesthetics.

Salvador Dali’s work is particularly useful for the application of psychoanalytical theories because ‘It was only after the writings of Freud revealed to him the symbolic world of the unconscious as a buried reality did he give full rein to his bent for dark inexplicable fantasy… He came to regard the dark wonder world of dreams and hallucinations as the only subject matter worthy of artistic treatment’ (Powel, 1992; 273). This idealisation of the unreal is reflected in his painting “Metamorphosis of Narcissus”.

In this essay, I read Moby-Dick as an allegorical description of the process of Ishmael’s healing from melancholy. Ishmael’s inane reveries at the beginning of the story evolve into a productive and self-creative narrative power. His initial melancholy reverie is represented in the novel as the narcissistic tendency of the subject to withdraw into oneself and sink into its own interiority, as well as the tendency to believe in a sentimental universal brotherhood. Ishmael manages to get free of his sterile daydreaming and regain contact with reality through a close experience of mortality and the confrontation with the power and complexity of writing.

This essay shall look into different types of water uses in architecture and the meaning behind each of them in the context it was used. Starting from ancient Egypt, to Greece, Andalusia, renaissance and ending by Louis Kahn’s Salk Institute from our modern times.

Uyarı: Bu yazı sürprizi bozan unsurlar (spoiler) içermektedir.

Vizyona girdiği dönem izlediğim bu film yeniden karşıma çıkınca farklı bir bakış açısıyla izledim. Ana karakter üzerinden ilerleyen filmi bu kez de oldukça popüler bir psikopatoloji olan narsisizm üzerinden okumaya karar verdim. Antik Yunan mitolojisinin önde gelen karakterlerinden biri olan Narcissus, güzel peri kızı Echoes’un aşkına karşılık vermeyince tanrılar onu kendine aşık ederek cezalandırır. Suda gördüğü kendi yansımasına aşık olan Narcissus, bu yansımaya dokunamadığı için üzüntüden etrafına olan tüm ilgisini kaybeder, yeme içmeden kesilir ve sonunda ölür. Günlük yaşamda kendine duyduğu aşkla gözleri kör olan ve çevresine duyarsız kalan kişilik tipini sıklıkla görürüz. Bu kişilik örüntüsü psikolojide “Narsisist Kişilik Örüntüsü” olarak adlandırılır. Filmin ana karakteri Mustafa ise tipik bir Narsisist olarak karşımıza çıkmaktadır. Bunu göz önünde bulundurarak değerlendiğimizde tüm olay örgüsü bir kez daha anlam kazanır.

Yunan Mitolojisi'ndeki Narcissus hikâyesi, geniş bir coğrafyaya yayılan pek çok kültür üzerinde etki alanı oluşturmuştur. Narsis'in su kenarında aksini görerek kendine meftun olması, bir aşk ve taaccüple kendi aksini seyrederek geçirdiği ömrünün sonunda nergis çiçeğine dönüşmesi şeklinde seyreden hikâyesinin çeşitli akislerini dünya edebiyatının mahsullerinde görmekteyiz. Nergis'in tesirinde kalan bu mahsuller İngiliz, Alman, İsveç, Fransız, Çin, Arap ve İran edebiyatı sahalarında ortaya çıkmakla birlikte, Türk edebiyatında da dikkate ve incelemeye değer bir yer teşkil eder. Özellikle klasik Türk edebiyatında, divan şiiri alanında nergis motifi ile rediflenmiş pek çok gazel ve kaside örneğiyle karşılaşmaktayız. Bu çalışmadaki temel amaç, divan şiirindeki kullanılışının çıkış noktası konusunda mutabakat sağlanamamış olan, Yunan mitolojisinin Narkissos'u ile, bir motif ve çiçek olarak nergis'in, Batı şiirindeki ve klasik Türk edebiyatı mahsullerindeki yeri, kullanılışı ile içerdiği muhtelif ve muhtemel anlamlarının karşılaştırmalı olarak değerlendirilmesidir.

The Narcissus saga of the Greek Mythology has had a broad sphere of influence on  multitudinous cultures over a wide geography. The influence of the tale of Narcissus, which occurs as falling in love with his reflection after sighting it in the water and transformating into the flower of narcissus after spending his life by amazedly watching his reflection, can be seen remarkably in numerous works of world literature. The respective works, in which the impacts of the relevant story appears in various literaty spheres, has been given in the domain of English, German, Swedish, French, Chinese, Arabic, Persian and more, in addition to constituting a salient and prospect-worthy place in Turkish literature. Therewithal, particularly in the field of divan poetry of Classical Turkish Literature, there appears in a multitude of gazel and kaside epitomes rhymed with the motive of narcissus. That all being said, the finding of this study is an attempt to commentate and peruse the place, practice and presumptive content of Narcissus in extracts both from Western Literature and from Classical Turkish Literature comparatively.

World literature gives the writers the opportunity to develop and renew literary works to be known across the globe. One of the important genres of literature is mythology; which differs from a civilization to another according to its beliefs and religious thoughts. These mythological works are similar in one way another in so many things such as a certain pattern, a certain theme or a certain character; that is known as the archetypes

Notre-Dame Déesse & Le Féminicide des Héros est un voyage dans le temps qui illumine notre société. Il est raconté par un homme âgé de culture moyenne, qui s’étonne à chaque pas, et rit, ou se met en colère, comme un enfant.

La quatrième de couverture annonce « Une vaste ‘déconstruction’ de croyances archéologiques au long du Fil d’Ariane : des temples néolithiques de Malte à la Grèce de l’âge du bronze et de l’époque classique. Un essai & un récit de voyage & un pamphlet tout-terrain, éducatif et rieur. À petites doses chaque soir, il peut être utile contre de vieux maux. »

Le parcours est résumé par un crieur de journaux :
« Découverte archéologique dévoile origine machisme, viol de groupe et féminicide ! »
Il a raison, mais ce n’est pas tout, et il n’a pas lu les 13 bonus tracks, ni répondu au quiz.

Après une diffusion ad personam qui a provoqué douleurs ou exultations en divers milieux, nous publions en exclusivité sur Academia.edu cette version de Notre-Dame Déesse & Le féminicide des Héros, complète et non censurée. Nous conseillons au lecteur de la télécharger tant qu'il est temps. Tôt ou tard, un éditeur avare demandera à l’auteur de la retirer de Academia.edu où le texte est disponible en trois langues, gratuitement. L’auteur courbera l’échine, parce que lui aussi aime l’argent.

Nostra Signora Dea & Il Femminicidio degli Eroi è un viaggio nel tempo che illumina la nostra società. Lo racconta un uomo anziano di media cultura, che si sorprende ad ogni passo, e ride, o si arrabbia, come un bambino.

La quarta di copertina annuncia  « Una vasta “decostruzione” di credenze archeologiche lungo il Filo di Arianna: dai templi neolitici di Malta alla Grecia dell’Età del Bronzo e del periodo Classico. Un saggio & un racconto di viaggio & un pamphlet fuoristrada, educativo e sorridente. A piccole dosi al mattino, può essere utile contro vecchi mali.»

Il percorso è riassunto dal venditore di giornali:
« Scoperta archeologica svela origine machismo, stupro di gruppo e femminicidio! »
Ha ragione, ma c’è dell’altro, e non ha letto i 13 bonus track, né risposto al quiz.

Dopo una diffusione ad personam che ha creato dolori ed esultanze in molti ambienti, pubblichiamo in esclusiva su Academia.edu questa versione di Nostra Signora Dea & Il femminicidio degli Eroi, completa e non censurata. Consigliamo al lettore di scaricarla prima che sia troppo tardi. Prima o poi, un editore avaro chiederà all’autore di ritirarla da Academia.edu dov’è disponibile in tre lingue, gratuitamente. L’autore si inchinerà, perché anche lui ama il denaro.

À la fin du XIXème siècle, la médecine prend en charge de manière prégnante le phénomène homosexuel, à l'aune des découvertes en psychopathologie. Le personnage est non seulement identifié physiquement sur la base d'un certain nombre de critères dits scientifiques, mais plus encore, on dresse sa cartographie mentale. Bien que cette classification des comportements sexuels se fasse dans une intention moins punitive que curative, les pratiques sexuelles minoritaires sont encore stigmatisées. Au niveau juridique, les lois françaises sont réputées clémentes puisque les pratiques homosexuelles ne constituent plus un délit dans le code pénal de 1810. L'usage détourné de l’outrage public aux moeurs permet cependant de contrôler les comportements tandis qu’on observe une recrudescence des procès pour outrage aux moeurs en fin de siècle. Notre travail, qui s'inscrit explicitement dans le cadre des Gender studies et de la Queer theory, est d’abord épistémologique : il vise à analyser la construction d’un savoir sur l’homosexualité dans la seconde moitié du XIXème siècle à travers le corpus médical, dont le rôle est souvent considéré comme majeur dans les études, et à travers les corpus juridiques et littéraires, parfois minimisés. Nos analyses relèvent également de l’histoire des représentations : il s’agit de proposer une définition de l’esthétique décadente à laquelle nous intégrons le signifiant homosexuel. Notre propos est enfin d’entrer dans l’étude détaillée des textes par le biais de trois thématiques majeures démontrant l’usage décadent d’une homotextualité : la symbolique des fleurs, la figure de l’androgyne et le mythe de Narcisse.

By the end of the 19th century, medicine overwhelmingly took hold of the homosexual phenomenon, basing itself on new findings related to psychopathology. Not only were characters physically identified thanks to a series of so-called scientific criteria, but they were also analysed through mental mapping. Although the aim of the classification of sexual behaviours was to cure rather than punish, the practices of sexual minorities were still stigmatized. As far as the judiciary system was concerned, French laws were considered to be quite lenient in so far as homosexual relationships had no longer been regarded as offences since the 1810 penal code. Nevertheless, the distorted use of the affront to public decency enabled to control people's behaviours and, by the end of the century, an increase of the trials focusing on cases of indecent exposure could be noticed. Our work, that definitely ascribes itself within the field of Gender Studies and Queer theory, is first and foremost epistemological and seeks to analyze how a body of expertise about homosexuality emerged in the second half of the 19th century, through the medical corpus that turned out to be prevalent in the studies that were conducted then, as well as through both legal and literary texts, although they were quite overlooked then. Our analyses also pertain to the history of representations, as we offer to define the aesthetics of decadence by adding a signifier: homosexuality. Finally, we also plan on scrutinizing texts by relying on three main themes that are meant to emphasize the decadent use of a homotextuality : the symbol of flowers, the figure of the androgyne and the myth of Narcissus.

Protagonists of this essay are the Florentine sculptor Benvenuto Cellini, his beloved shop boy Fernando da Montepulciano and three marble statues the master raised in the middle of the Sixteenth century: Ganymede, Apollo and Hyacinth and Narcissus, now at the Bargello Museum in Florence. Going through the story of their conception and achievement, along with an accurate reading of the artist’s poems and biography, the survey about the employ of ancient myths by Cosimo de Medici’s magnificent court meets Cellini and his illegal love affairs, born in a crowded and busy Florentine workshop.

I protagonisti di questo saggio sono lo scultore fiorentino Benvenuto Cellini, il suo amato garzone Fernando da Montepulciano e tre sculture di marmo realizzate alla metà del Cinquecento: il Ganimede, l’Apollo e Giacinto e il Narciso, oggi al Museo del Bargello di Firenze. Nel racconto dell’ideazione e della gestazione di queste tre statue, lette anche alla luce della produzione poetica dell’artista, l’indagine sugli usi del mito greco nella lussuosa corte di Cosimo I de’ Medici s’intreccia con la storia di un maestro e dei suoi amori illeciti, nati in un’affollata e operosa bottega scultorea fiorentina.

Our Lady Goddess & The Femicide of the Heroes is a time travel illuminating our society. The tale is told by an old man of average culture, exclaiming in surprise at each step, and laughing, or getting angry, like a child.

The back cover announces « A vast “deconstruction” of archaeological beliefs along Ariadne's Thread: from Malta’s Neolithic temples to Bronze Age and classical Greece. An essay & a travel log & an educative, smiling, off-road pamphlet. Small doses every evening can help solve old problems.»

The newsboy makes a long story short:
«Archaeological find unveils origin of machismo, gang-rape and femicide!»
He is right, but there is much more to it, and he did not read the 13 bonus tracks, nor answered the quiz.

After a distribution ad personam that caused great pain or exultation in many fields, we publish here, as an exclusivity for Academia.edu, this full, uncensored version of Our Lady Goddess & The Femicide of the Heroes. We advise the reader to download it before it is too late. Sooner or later, some greedy publisher will ask the author to remove it from Academia.edu where it is available in three languages, for free. The author will bow down because he, too, loves money.

Narcissus in Troubled Waters explores the myth of Narcissus from its earliest sources, to offer a study of its repercussions on the art of the 20th century.
The myth is a cultural archetype, to be found all through Western literature and art history, a myth that is at the origin of a strategy of representation that confronts a person with his or her own image through a medium. This study brings to light the situations of illusion structuring this founding story in each of its variations, and examines their reformulation in visual terms: in the work of Caravaggio and Poussin, then through various examples taken from the artistic activity of the 20th century right up to our own time.
As such, the metamorphosis of Narcissus into a conce —narcissism—and above all its re-elaboration through the image—the mirror stage—are confronted with the myth. On the strength of the different historical, exegetic, and visual layers covering the story of Narcissus, this book offers case studies taken from the work of three artists, Francis Bacon, Bill Viola, and Jeff Wall. Each of the three bodies of work selected exemplifies the use of a different artistic medium: painting, video, and photography. They offer not only a reverberation of the myth and/or its visual instantiations but can, moreover, interact with each other, communicating at times through the grace of an explicit reference from one artist to another, in such a way that this work is constructed as a coherent thematic circuit.

Tarih boyunca pek çok düşünürü, şairi, edebiyatçıyı, sanatçıyı hatta tıp alanından insanları bile etkileyen, her disiplinde farklı versiyonlarıyla kaleme alınan Echo ve Narcissus mitinde ortak öykü, kendisine ilgi duyanları (Echo) reddetmesi üzerine cezalandırılarak kendi yansımasıyla karşılaşması ve gölün yüzeyinde karşılaştığı bu yansımaya duyduğu aşkla yok olarak ya da bir tür metamorfoza uğrayarak kendi adını verdiği bir çiçeğe dönüşmesidir. Mit antik çağlardan günümüze düşünürler tarafından farklı şekillerde yorumlanmıştır. Rönesans’tan günümüze ise değişen imkan ve olanaklarla birlikte resimden, fotoğrafa ve sinemaya sanatçıların çalışmalarında da karşılık bulmuştur. Bu araştırmada Echo ve Narcissus miti üzerinden yapılan okumalarla, yeni medya sanatı ve bu alanda çalışmalar yapan Bill Viola, Sam Baron ve Andy Cameron, Pipilotti Rist, Daniel Rozin, Random International, Jason Burges, Claudia Hart, Eugenia Lim gibi sanatçılar odak alınmıştır.

Anahtar Kelimeler: Narcissus, Echo, Yansıma, Yeni medya, Sanat

The Narcissus myth is here analysed in the Spanish Literature of the Renaissance. The latin poet, Ovid, provides the poets with mythical stories which the renaissance authors use like a pattern for writing their works. Fernando de Acuña, Gregorio Silvestre and so many others see in the Narcissus myth a different story, which they shape on their own way. Cuando oímos la conmovedora historia de Orfeo o cuando asisti¬ mos con ansiosa expectación a que los brazos de Dafne se conviertan en ramas de laurel en los numerosos ejemplos de poemas de la litera¬ tura renacentista, a Ovidio recordamos. No se cuestiona aquí el desta¬ cadísimo mérito de nuestros insignes poetas, se alude, sin embargo, al amplio despliegue creativo que surgió de un núcleo cuya matriz ima¬ ginativa se hallaba como simiente en las maravillosas historias que el poeta latino agrupó en sus libros, reflejo a su vez de la tradición míti¬ ca griega1. En efecto, son las Metamorfosis el trasfondo temático de tan-1 "De varias metamorfosis hay referencias anteriores a la época helenística, pero de la mayoría de ellas los más antiguos testimonios son helenísticos o romanos, lo que, pro¬ bablemente, no tiene otra significación sino que en época helenística cuando se estudia¬ ron y recogieron sistemáticamente los mitos metamórficos, en obras como las de Teodoro, Antígono de Caristo, Didimarco, Beo y Nicandro, que son fuentes y modelos

Chapter from this prize-winning book. The medieval obsession with the magic, science and symbolism of mirrors was the catalyst for the production of self-portraits rather than the invention of crystal glass mirrors in c.1460. Includes detailed discussion of mirrors, Dante and Giotto, Van Eyck's Arnolfini portrait,  Alberti and Narcissus

En el presente trabajo nos proponemos abordar algunos aspectos de la reflexión plotiniana acerca del sí mismo. Para ello examinamos, por una parte, dos relatos que Plotino retoma e interpreta alegóricamente en el marco de su doctrina filosófica. Nos referimos al mito de Narciso y al relato del regreso de Odiseo a su patria, Ítaca. Plotino, en efecto, comprende estos relatos como imágenes que velan una realidad oculta que remite al sí mismo y a su interioridad. Por otra parte, analizamos diferentes aspectos de la conceptualización plotiniana acerca del sí mismo y discutimos el modo en que esta estructura conceptual, fruto de la exégesis que Plotino realiza principalmente de los textos de Platón, pero también de gran parte de la tradición filosófica precedente, permite a nuestro filósofo tanto dar a luz la interioridad como otorgarle sentido.

Narciso o l'amante di se stesso (per la prima volta in traduzione italiana) e Pigmalione. Scena lirica sono due opere teatrali che mettono in scena due miti di amore e metamorfosi: l'adattamento settecentesco della storia di Narciso, innamorato della propria immagine, e il mito di Pigmalione, innamorato della propria statua. Rousseau porta sul palco, insieme ai personaggi, problemi tipici della sua riflessione: la tensione tra essere e apparire, le patologie dell'amor proprio, l'inganno delle relazioni, l'ambiguità della finzione. I personaggi divengono metafora e figu-ra dei concetti filosofici. Scrittura teatrale e riflessione filosofica si implicano e si illuminano a vicenda per il lettore che voglia decifrare i richiami e i rimandi tra le due.

Este ensaio tem como seu objectivo analisar um dos mitos fundamentais da cultura ocidental ou, se se preferir, nas palavras de Julia Kristeva, na obra Histoires
d’Amour (1983), o mito fundador dessa mesma cultura, a saber, o mito de Narciso.
Defendemos neste ensaio que o mito clássico de Narciso, mais do que ser um apólogo moral de crítica ao egocentrismo, deve ser antes interpretado como a descrição mitológica do processo de autoconhecimento.

Das Unheimliche wird in Elfriede Jelineks „Die Kinder der Toten“ (1995) radikal ausbuchstabiert. Der Roman spielt in einer Berglandschaft, die sich zu Beginn als eine horrorhafte Lebensumwelt der Untoten, Doppelgänger, Vampire und anderer grauenerregender Gestalten erweist. Dabei ist auffällig, dass in der bisherigen Auseinandersetzung mit dem Roman Jelineks Appropriation literarischer Muster antiker Mythen eine untergeordnete Rolle spielte. Der Umstand ist umso erstaunlicher, da bei Jelineks Aufnahme und Weiterführung des Konzepts des Unheimlichen typischerweise antike Elemente immer wieder auftauchen. Das kulturell Imaginäre der Antike ist nicht lediglich ein Stichwortgeber, sondern wird in die Raum- und Zeitstruktur des Romans aufgenommen und als etwas Vergangenes in die Nachbarschaft aktueller Themen gestellt. Dieses poetische Konzept ist mit drei Gestalten aus der antiken Mythologie verbunden, die zu den wichtigsten Figuren der Mediengeschichte zählen: Hermes, Diana und Narziss.

Baudelaire blamed the bourgeois society and its photographic narcissism which leads to a perversion of the mythical posture and to a loss of consciousness of the ontological dissimilarity between reality and its image. That is why literature has to develop the imagination of the photographic image, which is both useful and magical, both referential and wondrous. Writers of the romantic era may disdain or admire photography, but they all experience the photographic objectivity and thus develop an antidote to the vain objectification of the collective Narcissus.

Estimates on how many selfies are uploaded daily vary – from one million  to 93 million.  One could argue that sharing self-portraits online is entirely harmless and that doing so perfectly illustrates McLuhan’s (1962) notion of a global village where everyone is connected. There is, however, a dark side to selfies, evident in the growing number of sexually explicit self-portraits, often posted by teenagers, and also in the growing number of people who are becoming so obsessed with capturing that ever elusive perfect self-image that they inadvertently die chasing it.

Blending the new analytical tools offered by such databases as Manos (previously Manos Teatrales) and a philological examination of rhyme and meter, this article ponders the dramatic effect of the e-o assonances found in Pedro Calderón de la Barca's Eco y Narciso, considered in relation to other dramas by the baroque playwright. Analysis draws on quantitative information made possible by the recent advances in the application of digital humanities research techniques to the study of the Spanish comedia, including a new database of assonance in Calderón under preparation as well as the paradigm-setting Manos database. Additional insights emerge from a newly available manuscript of Eco y Narciso that had long been unavailable to scholars. Taken together, this blend of quantitative and textual analysis reveals how the sonorous qualities of assonances allow the playwright to delve into the emotional depths of human subjectivity.

In this article, the National Media Museum’s Curator of Television Iain Logie Baird identifies underlying themes in the film 'Equus' (Sidney Lumet, 1977) to better understand our visceral relationship with modern electronic media, particularly television.  This is accomplished through a considered application of the observations of Marshall McLuhan in the chapter ‘The Gadget Lover: Narcissus as Narcosis’ within his seminal book Understanding Media (1964).  A resonance of Peter Schaffer’s original stage play with the Narcissus myth itself is revealed.  A 10-minute segment from Equus was featured in Animalism, a major gallery exhibition that appeared at the Museum from 8 May to 27 September 2009.  Animalism investigated ‘contemporary media responses to our complex and sometimes uncomfortable relationship with the animal world’.

Since antiquity and mythical culture, the mirror has played a significant and changing role in our collective culture and history for centuries. The way that we interpret them on a philosophical level has changed too. These changes in the perception of mirrors over time will be proven to be reflected in architecture and design. Since their first instance of formal manufacture, mirrors would change the way that architects design – using mirroring and reflection to alter the way we perceive and experience space.
This change can be denoted in the design decisions of pivotal works of architecture throughout history. The Palace of Versailles is a key example of the Baroque period’s adoration of the mirror. The Barcelona Pavilion shows a revolution in how reflections in glass can change the way architecture, and reflection itself, is perceived. Public installation art of the modern day uses the mirror to communicate society’s current cultural crises.
As Narcissus’s view of the silver-bright pond was framed by its idyllic surroundings, it will be shown how architecture frames the diachronic nature of how we perceive the mirror.

Based on the ode of narcissus scroll by zhao Mengjian--a painter of the Southern Song Dynasty, this thesis investigates how the scholars in the past dynasties viewed Zhao Mengjian and narcissus scroll under the influence of the mentality of the adherents, discusses the evolution of the meaning of the paintings through their historical imagination of Zhao Mengjian, and analyzes how the values of loyalty of Confucianism influenced the aesthetics of the paintings. Scholar group, in fact, historically reshaped Zhao Mengjian under the framework of adherents concept. It adds facts, historical facts and events for painters and works to create a world of rich meaning so that shows the close conection between the Confucian values and painting aesthetic and the spirit of the small but complete Chinese traditional culture of inheritance.
本文以南宋画家赵孟坚《水仙卷》题咏为线索，考察历代士人在遗民心态的影响下如何观待 赵孟坚和《水仙卷》，透过他们对赵孟坚的历史想象探讨画作意涵的演变，并剖析儒家忠义的价值观如何 对画作审美产生影响。事实上，士人群体在遗民观念的框架下对赵孟坚进行了历史重塑，将事实、史实、事 件层累叠加，为画家和作品创造了丰富的意义世界，由此展现出儒家价值观与画作审美的紧密联系，以及 中华传统文化精神具体而微的传承脉络。