84 research outputs found
Lilith jako prefigura femme fatale
No full textThe aim of the article is to describe the myth of femme fatale. Starting from popular culture and ending with the representatives of archaic cultures, the author tries to indicate the women who are described in patriarchal narratives as those who bring men to defeat and ruin. An important figure for the whole argument is Lilith, who, according to Jewish legends, was the first wife of Adam. Lilith was erased from the biblical tradition because she opposed her partner and turned away from God. She has become the female archetype of sin, the symbol of sexual vampirism and the rejection of motherhood. All these features make up the femme fatale syndrome
Walking, photographing, drawing: experiences with children in Praça da República (SP)
No full textEsta pesquisa busca compreender os usos e apropriações do espaço urbano pelas crianças de uma Escola Municipal de Educação Infantil (EMEI) da cidade de São Paulo, localizada na Praça da República, região central. O referencial teórico que aporta as reflexões apresentadas compõem-se das ideias de Henri Lefebvre, Michel de Certeau e Francesco Careri. Tais autores apontam para a presença, nas práticas espaciais cotidianas dos sujeitos, de experiências de apropriação a partir do uso que se contrapõem a lógica dominante de produção espaço. São propostas aos meninas e meninos participantes da investigação, situações de caminhadas, fotografia e desenho nas Praça da República e arredores, que subsidiarão as reflexão sobre essas experiências de apropriações quando vividas por meninas e meninos. A partir dessas situações, são analisadas as relações estabelecidas entre adultos, crianças e espaço, buscando articula-las a fenômenos sociais em contextos urbanos mais amplos. Como metodologia, utiliza-se a observação participante presente na perspectiva etnográfica, além da proposição para as crianças de situações de fotografar e desenhar. A conclusão aponta para a existência de apropriações infantis do espaço a partir do uso, destacando a contribuição de investigações com a infância em contextos urbanos para inclusão de sujeitos historicamente invisibilizados nas análises sobre as formas de produção do espaço da cidade.This research aims at understanding the uses and the appropriation of the urban space by children at a Municipal Kindergarten School in São Paulo, located at República Square, downtown. The theoretical references encompass the ideas of Henri Lefebvre, Michel de Certeau and Francesco Careri. These authors point to the presence, in daily spatial practices of subjects, of appropriation experiences focused on the use rather than the dominant rationale of space production. Strolls, drawing and photographing of the República Square and its surroundings have been proposed to the girls and boys who have taken part in this research, as situations that subsidize the reflection of the experiences of appropriation. These situations are the basis for the analysis of relations established among adults, children and the surrounding space, with an aim at articulating them to social phenomena in wider urban contexts. As a methodology, we use the participant observation, present in the ethnographic perspective, besides the proposition for children to draw and photograph. The conclusion points to the existence of children appropriation of the space from a use standpoint, highlighting the contribution of researches with early childhood in urban contexts for the inclusion of subjects who have been historically made invisible in analyses of the forms of space production in cities
Unbalancing Binaries: Re-thinking Lilith and Eve in Samuel Taylor Coleridge's "Christabel," Christina Rossetti's "Goblin Market," and George MacDonald's "Lilith".
No full textIn the nineteenth century, religion, or rather, religious figures played an important role in determining appropriate societal roles for women. Two particular religious figurations - Lilith and Eve - began to emerge more frequently in Victorian literary works as a way to illustrate, discuss, and critique the binary formulation of the angel in the house and the fallen woman. This thesis examines three works that utilize the symbolic representations of these religious female figures in order comment on the fallen woman and angel in the house binary, as well as the place of women within the beginning, middle, and end of the nineteenth century. I argue that by incorporating the Lilith and Eve typology, Samuel Taylor Coleridge's Christabel,' (1816), Christina Rossetti's Goblin Market,' (1862), and George MacDonald's Lilith (1895), exemplify and discuss the tensions surrounding the formulation of set female roles within Victorian society. Thus, it is though problematizing the rigid binaries of the angel in the house and fallen woman within these three texts that I illuminate the cracks within the dichotomy. --P. ii.The original print copy of this thesis may be available here: http://wizard.unbc.ca/record=b173788
Lilith: a tool for constraining new physics from Higgs measurements
No full textThe properties of the observed Higgs boson with mass around 125 GeV can be affected in a variety of ways by new physics beyond the Standard Model (SM). The wealth of experimental results, targeting the different combinations for the production and decay of a Higgs boson, makes it a non-trivial task to assess the patibility of a non-SM-like Higgs boson with all available results. In this paper we present Lilith, a new public tool for constraining new physics from signal strength measurements performed at the LHC and the Tevatron. Lilith is a Python library that can also be used in C and C++/ROOT programs. The Higgs likelihood is based on experimental results stored in an easily extensible XML database, and is evaluated from the user input, given in XML format in terms of reduced couplings or signal strengths.The results of Lilith can be used to constrain a wide class of new physics scenarios. © The Author(s) 2015.171511Nsciescopu
2B: Lilith in Dawn
No full textPart one of Octavia E. Butler’s Xenogenesis trilogy, Dawn, explores complex ideas surrounding family structure, and confronts issues such as sexism, racism, and colonialism in a post-apocalyptic setting and model of the human body. Scholars consistently analyze these issues as dysfunctions in society, but personal accounts from Butler lead one to believe that part of the critical theory surrounding her work is less than representative of her initial intentions. In an interview with Stephen W. Potts, Butler remarks on the agitation surrounding critics who “attempt to interpret [her] subconscious”. She further emphasizes the role of being an African American woman and by what means these parts of herself “influence the theme and approach” of her writing. Close examination of Butler’s intentions in Dawn and the portrayal of Lilith’s character highlight the period in history, as an African American female author, experienced by Butler. A similar reflection of history and experience can be found in the depiction of Lilith and her relationship with the Oankali, before and after the humans are awakened. This essay will highlight Butler’s interpreted view of human interactions, and it will establish a significant connection between the infliction of shame and its hindrance of Lilith and women, specifically women of color, historically and presently
The Image of Lilith in the Modern Russian Literature as the Representation of the Femme Fatale
No full textMaģistra darbs ir veltīts Lilita tēlas pētījumam kā fatālas sievietes reprezentācija mūsdienu krievu literatūrā. Darbs sastāv no trīm nodaļām. Pirmajā nodaļā ir aplūkota fatālas sievietes tēla koncepcija zinātniskajā literatūrā. Otrajā nodaļā ir aplūkota fatālas Lilitas tēls daiļliteratūrā un mūsdienu literatūrā. Trešajā nodaļā ir aplukota Lilita tēls ka fatālas sievietes reprezentācija uz piecpadsmit mūsdienu krievu literatūras darba piemēriem, kas ir publicēti literatūras interneta projektā “Žurnāles zāle”. Autors pievērš īpašu uzmanību mūsdienu raksturīgajām īpašībām attēlojumam Lilitias fatālas tēlā. Pētījums var ieinteresēt filologus un kulturologus, kas nodarbojas ar attīstības tendences pētījumu fatālas Lilitas tēlam mūsdienu krievu literatūrā, kā arī pētniekus genderas problemātikas sfērā.This Master thesis is dedicated to the study of the Lilith image as a representation of the femme fatale in modern Russian literature. The following study consists of three chapters. The first chapter deals with the concept of the image of a femme fatale in scientific literature. The second chapter examines the image of the Lilith as femme fatale in scientific and contemporary literature. The third chapter considers the image of Lilith as a representation of the femme fatale on the example of fifteen works of Russian modern literature, taken from the literary Internet project “The Journal Hall”. The author pays special attention to the characteristics of the modern representation of the fateful Lilith. The study may be interesting to philologists and culturologists who are studying the trends in the development of the image of the fatal Lilith in Russian modern literature, as well as researchers in the field of gender issues
Lilith between profanity and parody: a reading by Saramago's Cain
No full textThe author José Saramago presents, in his works, questions about the parameters imposed by a religious system that he considered contradictory, considering that many barbarities were committed in the name of God. The author uses literary tools such as parody to deconstruct the sacred scriptures, causing us to reflect on: the position of women in the social context, the discussion on the position of the marginalized in society and the various faces of God postulated by the Old Testament. All these themes will serve as raw material for the study of parody and desecration in the work Caim (2009). The focus is on the profane transfigurations of the Jewish mythical figure Lilith, present in the work. In this fiction, we find traces of the medieval parody theorized by Mikhail Bakhtin (1987), and also of the modern one, argued by Linda Hutcheon (1985) and Affonso Romano de Sant’Anna (1988). Based on the theories of Mircea Eliade (2001), Giorgio Agamben (2007) and Paul Ricoeur (2013), we will develop the analysis regarding the way the profane is linked to the text so that some religious questions are evidenced. Lilith is a figure traditionally known to carry a negative aspect due to her unsubmitted character, however, some concepts about her, free from the dogmas of religion, will be re-signified by Saramago in Cain.Dissertação (Mestrado)O autor José Saramago apresenta, em suas obras, questionamentos sobre os parâmetros impostos por um sistema religioso que ele considerava contraditório, tendo em vista que muitas barbáries foram cometidas em nome de Deus. O autor se utiliza de ferramentas literárias como a paródia para desconstruir as escrituras sagradas, provocando-nos reflexões sobre a posição da mulher no contexto social, a discussão sobre a posição dos marginalizados na sociedade e as várias faces do Deus postulado pelo Antigo Testamento. Essas três temáticas servirão como matéria-prima para o estudo sobre paródia e profanação na obra Caim (2009). O foco é dirigido para as transfigurações profanas da figura mítica judaica Lilith, presentes na obra. Nessa ficção, encontramos traços da paródia medieval, teorizada por Mikhail Bakhtin (1987), e também da moderna, argumentada por Linda Hutcheon (1985) e Affonso Romano de Sant’Anna (1988). Embasados nas teorias de Mircea Eliade (2001), Giorgio Agamben (2007) e Paul Ricoeur (2013), desenvolveremos a análise a respeito do modo como o profano se vincula ao texto para que alguns questionamentos religiosos sejam evidenciados. Lilith é uma figura tradicionalmente conhecida por carregar um aspecto negativo devido ao seu caráter insubmisso, porém alguns conceitos sobre ela, livres dos dogmas da religião, são ressignificados por Saramago na obra Caim
Being child on the city streets: urban space and street childhood in Sao Paulo
No full textEsta pesquisa busca conhecer as práticas espaciais e as relações cotidianas estabelecidas pelas crianças em situação de rua na avenida Paulista, cidade de São Paulo. Utiliza a prática de caminhadas e a criação de desenhos como recurso de pesquisa e relação com a cidade. Também utiliza notícias de jornal como fontes documentais para discutir a presença de crianças em situação de rua durante a pandemia de covid-19. Esses diferentes recursos metodológicos permitiram um olhar ampliado para as experiências de rua vividas pelas crianças, apontando para a diversidade de relações que estabelecem com/no espaço urbano e a impossibilidade de retê-las em explicações descontextualizadas ou normatizadoras. A partir das observações realizadas, a pesquisa discute a agência das crianças na cidade e situa sua participação na produção do espaço urbano.This research pursuits to understand the spatial practices and everyday relationships established by street children on avenida Paulista, in the city of São Paulo. It uses walking and the creation of drawings as a resource for research and relationships within the city. It also uses newspaper reports as documental sources to discuss the presence of street children during the covid-19 pandemic. These different methodological resources allowed a broader look at the street experiences lived by children, pointing to the diversity of relationships they establish with/in urban space and the impossibility of retaining them in decontextualized or standardizing explanations. Based on the observations made, the research discusses the agency of children in the city and situates their participation in the production of urban space
Uncanny universalism : Gothic imagery in George MacDonald’s <em>Lilith </em>(1895)
No full textAs scholars studying George MacDonald (1824–1905) have paid an increasing amount of attention to genre questions, a discussion of the author’s relation to Gothic literature has emerged. MacDonald is often held to be an author who does not properly belong to the Gothic tradition: although prone to employ its motifs and themes in his work, this is frequently understood as a means to further a benign worldview, ultimately at odds with the bleakness and despair often understood to be characteristic of the genre (cf. Scott McLaren, 2006, Susan Ang, 2008). This paper seeks to problematize this notion in a discussion of MacDonald’s late text Lilith (1895). MacDonald’s son Greville has suggested that Lilith was partly written as a reproach to “increasingly easy tendencies in universalists”, who, believing in universal Salvation, had ceased to seriously consider the need for repentance. The protagonist mister Vane stumbles into an alternative reality, possibly a purgatory of sorts, and learns just how dearly redemption is bought. This is a remarkably uncanny universalism, expressed in imagery familiar from the fin de siècle Gothic. Bearing in mind Nicholas Royle’s definition of the uncanny as that which “is destined to elude mastery, […] what cannot be pinned down or controlled”, however, this paper examines the possibility that the uncanny motifs do not merely serve to convey or to contain a benign message, but also undermines any assurances given to us by the text, thus creating an ambiguous and deeply unsettling text. A universal uncanniness, as it were.</p
Die Verschmelzung traditionaler und Swedenborgianischer Denkstrukturen in MacDonalds 'Lilith'
No full textThe Sleep of the Soul
David Lindsay, author of Voyage to Arcturus, claimed to be mainly influenced by George MacDonald. As Lindsay’s view of the world is the pessimistic gnosticism often to be seen in works of art of the late 19th and early 20th century, a connection to MacDonald, usually seen as a propagator of orthodox Christianity, does not seem obvious at first sight. Closer scrutiny, though, reveals the connection as well founded. Both MacDonald’s Lilith and his entire late work stand in a long tradition and form a link between modem gnosticism and the Neoplatonic and Hermetic school.
MacDonald as a writer saw himself as an interpreter of Novalis. It is Novalis’s great pattem of the romantic philosophy of history that is taken over into Lilith: the slow change of the “Long Night” into the darker, then brighter, sides of Dawn until the break of the “Eternal Day” which is taken over by MacDonald. Lindsay’s Nightspore, representing the soul, is engaged in the universal process of suffering, being forced into the chain of birth and rebirth, after finally consenting to its fate, that being might be extinguished by a universal will to nothingness.
MacDonald’s Vane clearly has a similar significance: Vane is a sufferer in the realm of the world’s “Long Night”, but with the final aim of a universal redemption and elevation of the whole being.
As a symbolistic work of art, Lilith is a parable, and as such shows, in a hermetic way, the destiny of the world and especially of the soul. Both, the parable-structure and the central message, are founded - and this in many layers - on Swedenborgianism. The many elements of Platonic tradition, direct allusions to Plato, Plotinus, Proclos, Paracelsus, Böhme, Thomas Taylor, and Blake; again to Novalis, Coleridge and Schelling, are amalgamized by a Swedenborgian view, as may be seen in the very images and terms used, in the very manner of speech.
The centre of the story is the image of incorporation, represented by the house of Adam and Eve, the cemetery in the world-cave; the sleep of the soul is earthly life, its awakening earthly death. The course of action before the consent of the soul to sleep must be understood then, of course, as taking place in the realms of the soul’s pre-existence, beginning with ist isolation (Plotinus) and going on with the stages of “descending” (tradition of the Mysteries). But the final stage, incorporation, is not, in the Platonic sense, the evil, but the beginning of resurrection, which however is not completely realised. Here, the Swedenborgian idea of the universal growing of the spiritual seed (“Keim” in Schelling) within the earthly body, connected with the idea of the cave’s “hallow’d ground” (Blake) of the Platonic tradition expresses a dynamism, interpreting the “Long Night” as an element of motion to a new and higher level of existence. “Adam’s Return to Paradise”, “The New Age”, “The New Jerusalem”, though, are experienced as the northern light of vision, while the aspiring soul is still enclosed by “the forests of the Night”
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