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Allegory Old and New: In Literature, the Fine Arts, Music by Marlies Kronegger (auth.), Marlies Kronegger, Anna-Teresa

By Marlies Kronegger (auth.), Marlies Kronegger, Anna-Teresa Tymieniecka (eds.)

Bringing allegory into the sunshine from the overlook into which it fell potential concentrating on the wondrous heights of the human spirit in its importance for culture.
modern philosophies and literary theories, which provide pre-eminence to fundamental linguistics varieties (symbol and metaphor), appear to desire simply that which makes intelligible conversation attainable. yet they fall brief in accounting for the inner most subliminal founts that urged the brain to exalt in attractiveness, advantage, transcending aspiration.
the current, wealthy assortment indicates how allegory, incorporating the hovering of the spirit, deals highlights for tradition, with its fluctuations and transformation. This collective attempt, wealthy in rules and intuitions and masking an unlimited diversity of cultural manifestations, is a pioneering paintings, retrieving the imaginative and prescient of the exalted human spirit, bringing jointly literature, theatre, tune and portray in numerous revealing perspectives.
The authors contain: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas.
For experts, scholars and staff in philosophy, comparative literature, aesthetic phenomenologists and historians of art.

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Additional info for Allegory Old and New: In Literature, the Fine Arts, Music and Theatre, and Its Continuity in Culture

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21 Indeed, Lucien is everyone's doppelganger: a long sought-after reflection, a mirror, a soulmate, a kind of nexus of powerful transfers of energy. Careless squanderer, wastrel, ingrate, he exploits others just as easily as he falls prey to each temptation that comes his way, afterwards weeping hot tears of repentance. Curiously enough, deprivation, humiliation, and failure do not lessen him; up to the end, he remains invincible, thus appearing to defy the Balzacian system where endurance is deter- BALZAC'S LA COMEDIE HUMAINE 45 mined by the amount of inner strength and willpower a character possesses.

O, Fig. 2. Arrival in Rome, unknown artist. J. H. Elliott. "Queen Christina". Horizon. Summer 1967, II, 3. Fig. 3. Painting by Gagliardi and F. Lauri. o Fehruarv. 111';6 In Per Rillrstrilm tv ;:Q m a a m Z ;:Q 'o" en ~ m r ;:Q ~ 3:: 0\ ALLEGOR Y AND MAXIM 27 Fig. 4. B. Fariat after A. Scilla. Christina sitting on a throne surrounded by, from left to right, Architecture, Study of the Antique, Conversion to Catholicism, History, Sculpture pointing at its work "Victoria Maxima" - the symbol of Christina's abdication -, Mathematics, Painting and Poetry.

O, Fig. 2. Arrival in Rome, unknown artist. J. H. Elliott. "Queen Christina". Horizon. Summer 1967, II, 3. Fig. 3. Painting by Gagliardi and F. Lauri. o Fehruarv. 111';6 In Per Rillrstrilm tv ;:Q m a a m Z ;:Q 'o" en ~ m r ;:Q ~ 3:: 0\ ALLEGOR Y AND MAXIM 27 Fig. 4. B. Fariat after A. Scilla. Christina sitting on a throne surrounded by, from left to right, Architecture, Study of the Antique, Conversion to Catholicism, History, Sculpture pointing at its work "Victoria Maxima" - the symbol of Christina's abdication -, Mathematics, Painting and Poetry.

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