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Copyright of Akademi Sosyal Bilimler Dergisi is the property of Akademi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hobbes's theory of authorisation poses numerous puzzles to scholars. The weightiest of these conundrums is a supposed contradiction between chapter 17 of Leviathan, that calls for unconditional submission to the sovereign, and chapter 21, that defends the liberties of the subject. This article offers a fresh perspective on the theory's consistency, function and addressees. While existing research doubts the theory's consistency, focuses on its immunisation function and on the subjects as the theory's main addresses, the paper argues that Hobbes's theory of authorisation is consistent with the doctrine of the liberty of subjects, and that it serves the dual purpose of immunising the sovereign against criticism and disciplining the sovereign via a counsel of memento mori: A hitherto underexplored element of authorisation theory is a reminder of the mortality of sovereignty directed at the sovereign to convince him to make restricted use of his absolute right to rule. Hobbes's theory of authorisation can thus be read as part of a complex argumentative strategy for peace, rooted in a 'liberal absolutism' which is not as paradoxical as it sounds, and which is reflected in the frontispiece by the friendly smile of the sovereign. [ABSTRACT FROM AUTHOR]

One of the key moments of John Webster’s The Duchess of Malfi (1613-14) is the writing of the Duchess’s will. On the surface, memory is a state in which princes must consider their own mortality. It is actually the driving force behind the action of the play, illustrated by funeral rites, wills, monuments and tombs. In various ways, the protagonists are present after their deaths, leaving unerasable psychological traces. This article will question this relationship between death and memory in Webster’s Duchess of Malfi: with its plethora of memento mori images and discourses on posterity, isn’t memory a form of vain illusion, pertaining to the luxury and decadence of the aristocracy? If so, why is the Duchess rewarded with posterity, while her enemies are killed in secret and end up forgotten?

O texto trata de uma reflexão sobre um conjunto de aquarelas – Primavera Negra - realizadas entre 2020 e 2022. Paralelamente, evidencia a conexão deste trabalho no contexto mais amplo da produção de artistas contemporâneos que abordam o tema da fragilidade e efemeridade da vida; estabelecendo relações complexas de continuidade e de ruptura com o gênero pictórico das Vanitas, do século XVII, e dos Memento Mori, da antiguidade clássica. Parte da reflexão sobre as aquarelas recebe contribuições de Martin Heidegger, entendendo que, ao estabelecer relações, o homem “constrói mundos” e estes mundos frágeis possuem sua dose de poesia e tragédia.

Why do we strike intrinsically inoffensive objects when they intrude upon our lives? Why, for example, do we kick the car when it breaks down, or slap the chair that pinches our finger against the table, or strike the open door that collides with our head? In this essay, I ask whether this phenomenon, which I call the performance of "pure object revenge", might arise from an impulse to execute vindicatory, and in that sense vengeful, justice upon the offending object. My new explanation for the phenomenon is that we strike the offending object because it has no life but has briefly acted as if it were alive. It therefore reminds us in the brief moment of its offence that our bodies are also inanimate dust and will return to dust and in the meantime are only briefly animated. In short, my argument is that we strike the object because it is a memento mori. To test and support this, I offer a reading of the "closet scene" at the centre of Shakespeare's Hamlet to illustrate the performative impulse to banish inanimate objects at the threshold of the living and the dead. [ABSTRACT FROM AUTHOR]

This article explores some eschatological facets of vehicle/road ecologies. Hitchhiking, as a disappearing form of travel in the twenty-first century (at least in the Western world), serves as a memento mori metaphor for our post-COVID era. There are plenty of death-memory features in auto-stopping. From vanishing hitchers through to the uncanny aspects of fear, danger, environmental concerns, and the search to escape social constraint through adventure, memento mori lurks/lingers near spontaneous roadside lift solicitation. As an art-historical and theological notion, it is inherently material and incorporates both eschatology and remembering. As a pragmatic act of embodied imagination, hitchhiking is itself increasingly memorialized as an endangered transgression and dying-out form of displacement. Hitchhiking is thus a socio-spatial memento mori for an epoch during which it is increasingly presented "virtually" in re-representational forms. I therefore propose that this phenomenon is a simulacrum, offering topical allegorical tristesse lessons for considering global annihilation. [ABSTRACT FROM AUTHOR]

Death has been a phenomenon that has been evaluated by people since the dawn of time and tried to be understood with other existential problems. As in everything related to life, death has given direction to people's lives and is reflected in the works of art created by people. Memento Mori is a Latin phrase meaning "Remember death" or "Remember that you are mortal". Memento Mori and its symbols, which appeared in art as early as antiquity, are still used by artists today. The concept is symbolized by a skull, skeleton, winged skeleton, hourglass, etc. Although Memento Mori has been reflected in works of art in various forms throughout history, it gained great popularity during the Renaissance. In this study, an important artist of the Northern Renaissance, Hans Holbein the Younger's approach and interpretation of the matter, was discussed and evaluated. For the study, some examples of the artist's works, which are thought to represent the concept best, were selected and examined. [ABSTRACT FROM AUTHOR]

Seeing documentary film as an object for remembering and resurrecting the past is a complex issue touching upon questions pertaining to the ontology of photographic capturing, its ways of becoming an index, means of reinventing/fabricating the past through narrative and how such shared, cultural conventions impinge on the personal sphere, i.e. the singularity and authenticity of the experience preserved. While some past and present key media theorists regard such cinematization of memory as either a reduced or falsified form of pastness, I argue, employing Edward S. Casey's influential phenomenological study of mnemonic modes and taking Aslaug Holm's (auto)biographical documentary Brothers (Brødre, 2015) as an outstanding example, that documentary as an object perceived by a specific (not abstracted) consciousness is multiple and functions as a virtual reservoir for potential complex acts of memory to occur – it enlivens, not reduces one's engagement with the past. Brothers is seen as both a form of reminiscence vehicle and commemoration vehicle. I furthermore identify a new mode of memory manifest in the film, not discussed by Casey, and its related object – anterior reminding and memento mori – which preserves the past and alludes to the future, this way determining what that past shall have been. [ABSTRACT FROM AUTHOR]

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori.

V prispevku avtor analizira ikonografijo vanitas in memento mori v izdajah emblemske knjige Andree Alciatija Emblematum Liber. Osnovo pregledanega fonda predstavljajo temeljne latinske izdaje Alciatija (Augsburg 1531, Pariz 1534, Benetke 1546, Lyon 1547, Lyon 1551, Frankfurt 1567, Antwerpen 1577, Pariz 1583, Padova 1621), vendar se nezanemarljiva odstopanja v vsebini emblemov pojavljajo tudi v drugih dostopnih izdajah 16. in 17. stoletja (Pariz 1536, Pariz 1539, Pariz 1542, Lyon 1549, Lyon 1551, Lyon 1556, Frankfurt ob Majni 1566/67, Pariz 1584, Najera 1615, Ženeva/Köln 1615). Motivika minljivosti je v Alciatijevih emblemih spretno prepletena z motiviko ljubezni in prijateljstva, kar ob Alciatijevem črpanju navdiha iz grške in rimske antike v duhu renesančnega humanizma omogoča ustvarjanje izvirnih ikonografskih motivov in interpretacij. V slednjih je prav jukstapozicija motivike smrti in ljubezni izhodišče za oblikovanje novih vsebin v ikonografiji minljivosti. Prav emblemske knjige se zaradi moralno-didaktične in mestoma satirične naravnanosti zgodnjenovoveških emblemov izkažejo kot eden od ključnih medijev za razvoj in posredovanje tovrstnih vsebin. Prispevek poskuša na primeru ikonološke analize petih emblemov (Tumulus meretricis, Senex pulleam amans, De Morte & Amore, In Formosam fato praeraptam ter In mortem praeraptam) osvetliti slabo raziskano Alciatijevo inovativno interpretacijo in nadgradnjo motivike minljivosti. Ta je zaradi kombiniranja ustaljenih visokosrednjeveških makabrističnih ikonografskih motivov z alegorično govorico zgodnjenovoveških emblemov prežeta z motivi, ki se pred Alciatijevo knjigo niso mogli razviti.

Copyright of Ars & Humanitas is the property of Ars & Humanitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death's inevitability; it is a meditation on the transient and finite nature of time. Films as diverse as Mizoguchi's Tales of Ugetsu, Resnais's Hiroshima mon Amour, and Guzmán's Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character - one who returns from the dead. The article aims to clarify not simply death's unquestionable omnipresence in film but also cinema's role as a contemporary version of the trope of memento mori. [ABSTRACT FROM AUTHOR]

An analysis of the oil painting Boy Blowing Soap Bubbles. Allegory on the Transitoriness and the Brevity of Life (in the National Gallery of Denmark, Copenhagen), signed and dated 1663 by the Dutch painter Karel Du Jardin (1626–1678), shows how two iconographical types, that of Fortune/Nemesis and that of a boy blowing soap bubbles are combined to form a new invention. The essay explores how Du Jardin’s painting expands and nuances the allegorical meaning of Vanitas by this combination of well-known visual sources. The meaning of the painting circles around one of the baroque era’s great tropes, to remember and search for Fides and not to let worldly riches forget her. This article also explores how a baroque Christian neostoic worldview might form part of the ideas and philosophy that underlie Du Jardin’s invention.

The paper provides an analysis of eschatological themes in medieval debates between body and soul related to the Kingdom of Bohemia. The oldest poem (after 1320) emphasizes the particular judgment as the dominant eschatological horizon, probably under the influence of the Processus Sathanae. The old Czech translation of Visio Philiberti (ca. 1370) seems to avoid the description of physically conceived pain of a separated soul and stresses the absence of God as the worst punishment. The third old Czech debate (end of the 14th c.) underlines the loving bond between human composites, further accentuated in a contemporary Latin prose debate between body and soul by the archbishop of Prague John of Jenstein in his Liber dialogorum. [ABSTRACT FROM AUTHOR]

The article explores how Netherlandish paintings in the late fifteenth and early sixteenth centuries developed personalized representations of memento mori, particularly through vanitas still life paintings. It also explores how illusionistic techniques, including trompe-l'œil, were employed in representations of memento mori across devotional triptychs, diptychs, portraits, books of hours, and graphic arts to engage viewers in contemplation on death's inevitability and impermanence.

This research analyses the poetic compositions of Fernán Pérez de Guzmán included in the Cancionero de Baena and written during his youth. I find in them many of the themes that he would later develop in his retreat in Batres, especially his satire of courtly love, the "hell of loves" and the presence of the themes of memento mori or vanitas vanitatum and fugit dies. I define his poetic conception, his literary sources and his conflictive relationship with the new dolce stil novo lyric from Italy. [ABSTRACT FROM AUTHOR]

El presente artículo tiene como objetivo analizar el tratamiento del cadáver, y sus fragmentos, dentro de la producción fotografía de Joel-Peter Witkin. Estableciendo líneas de conexión con las Artes Plásticas del Pasado y reflexionando sobre los aportes que se producen al tema del Memento Mori y la Vanitas desde una perspectiva contemporánea.

Falstaff is an impressive comic character in Shakespeare's three histories, Henry IV, Part 1, Henry IV, Part 2, and Henry V. Nevertheless, his lines and the scenes related to him often imply the sin and punishment in the Christian sense, especially the idea of memento mori during the Middle Ages and the Renaissance. As for the religious admonitions and moral preachings from the various people around him, Falstaff either sneers at them or evades them altogether. The only thing he cares about is his earthly enjoyment rather than any religious faith or salvation of his soul. Falstaff's obstinacy results in his final destruction -- not only a desolate physical demise, but also a spiritual death as subtly implied between the lines of the play. Accordingly, the tradition of memento mori during the Middle Ages and Renaissance reveals how Falstaff was understood and judged by the audience in Shakespeare's time. Meanwhile, Shakespeare's portrayal of Falstaff vividly demonstrates the immense popularity of memento mori in England during the Renaissance. [ABSTRACT FROM AUTHOR]

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Three depictions of Mary of Burgundy seated on horseback were made soon after the duchess’s death. The drawn copy of a lost work by Hugo van der Goes commemorates the negotiations held in Trier in 1473 between Frederick III and Charles the Bold, when they made their first agreement on joining their children in marriage. The composition is strikingly reminiscent of the theme of The Meeting of the Three Living and the Three Dead; the high-born female rider arriving behind Maximilian is Mary of Burgundy, depicted after her death. The man confronting the riders with their mortality probably refers to Charles the Bold (d. 1477). The original work was likely to have been commissioned by Maximilian sometime between the death of the duchess and that of the painter, that is between March and December 1482. Like the drawing, the allegorical poem completed in 1483 by Olivier de La Marche is a commemoration of the recently deceased dukes and duchess of the House of Burgundy. For the edition of the poem published by the Brethren of the Common Life in Gouda, the drawing associated with Hugo van der Goes was utilised to illustrate the chapter on the death of Mary of Burgundy. The protagonist of The Meeting of the Three Living and the Three Dead in the manuscript known as the “Berlin Hours of Mary of Burgundy and Maximilian of Austria” is Mary of Burgundy, who died in a riding accident. I refute all the arguments suggesting that the miniature preceded the duchess’s death. The double letters “M” on the harness of Mary’s horse (which are also found several other times in the book of hours) refer not only to the names of the ducal couple, but also to words associated with death. The miniature itself was probably commissioned by Maximilian, after his wife’s death. With its softer brushwork, the decorative frame around the miniature – as well as the entire recto of folio 221 – was probably made when the manuscript was in the possession of Margaret of Austria. The personification of Death differs from the verso in many respects (scale, background, style); iconographically it can be considered an afterthought. The green parrot and golden dove in the left margin are also afterthoughts. The two birds appear in the Épîtres de l’Amant vert (1505), the consolatory poem composed for Margaret by Jean Lemaire: one bird was the mother’s favourite, the other her daughter’s favourite; both ended their lives in the mouths of dogs (which had been barking on the verso of folio 220 for a few years before). Here and now, in the margin of the recto of folio 221, the birds representing the souls of mother and daughter are inhabitants of Paradise. The protagonist in the verso of folio 158 of the London Rothschild Hours – the image is a copy of the Berlin Meeting – is the commissioner of the manuscript, and also the owner of the Berlin manuscript: Margaret of Austria, identifying with and commemorating her mother Mary of Burgundy. The depiction facing it in the recto of folio 159 alludes to the series of events (the two funerals) that followed the death of Margaret’s husband, Philibert II, with a proleptic depiction of St. Nicolas’s Church in Brou (their future common tomb). Besides the riding ladies, the illustrations of the Office of the Dead in the Berlin and London Hours share numerous similarities. [ABSTRACT FROM AUTHOR]

The article studies the painting by Josef Manes, The Gravedigger. Topics include the painting is based on an elderly gravedigger standing near a freshly dug grave; the painting was preceded by two oil painting studies, first in 1841, and second in 1843; and the theme was based on funeral and Manes never painted another painting with the theme as it was based on his life situation.

The paper presents Eastern-Slavonic rushnyks (embroidered towels with a sacral meaning) with the images of death. Despite the fact that the origin of them was printed cross-stitch papers, these images became folklorized, as there have been many transformations in folk culture (both formal and mental). The aim of the article is to show different understandings of one and the same picture (a grave cross with guelder roses twigs wrapped around it and two birds sitting against each other on the twigs) and the typical inscription (“My grave is under the cross; my love is on the cross”) to it. This is possible by analyzing various combinations of mentioned visual and verbal formulas with others that were also embroidered on rushnyks in conjunction with the previous ones. The author makes the conclusion that hanging on the walls, Eastern-Slavonic embroidered towels with such formulas presented, for the most part, memento mori topic, demonstrating various forms and manifestations of passing away.

Light is a major visual element in theatre but remains subordinated to texts in dramatic theatre. With the development of the concept of postdramatic theatre, the potentialities of light in theatre, particularly the musicality of light, open up. In this paper, I examine the interrelationship among light, music and theatre, as well as the role of the musicality of light as a concept, model and method on expanding the notion of theatre, through review of and reflection on the creative processes and workings of three original theatre, performative installation and Cantonese opera productions. The experimental exploration on the musicality of light in a cross-disciplinary and cross-media context re-considers the dynamics between theatre and music in contemporary theatre.

La experiencia del encuentro sensible con la pieza artística despierta en nuestro espíritu aquello que el artista vio desde su estremecimiento propio. José Lezama Lima toma la pluma como si fuese pincel y traza en el lienzo de su obra Paradiso una poética narrativa que incita nuestra sensibilidad y transmite una textura imaginaria de lo real. La presencia del vanitas en los capítulos primero y séptimo no busca evocar una simple imagen sino estimular más allá del reconocimiento intelectual de dicha apariencia plástica. La vida como vanidad, el memento mori, transita como temática en estos cuadros descriptivos; transmite el mensaje del desengaño del mundo y toca nuestras fibras más hondas y humanas.

Copyright of Eikón / Imago is the property of CAPIRE Research Team at Complutense University of Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The memento mori is a profoundly important aspect of religious reflection on the fleeting nature of life and the need to prepare spiritually for the inevitability of death. This essay considers two recent examples--the deaths of a world-renowned athletic celebrity and an obscure academic philosopher--and explores the contrasting images of death and its meaning found in religious and secular philosophical understandings. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article suggestively called Damnatio memoriae. Historical and moral revenge in images is considering the analysis of a cultural, historical and artistic phenomenon practiced since ancient times in different cultures and civilizations, which literally consists in condemning the memory of certain remarkable personalities of the past, by deleting the names of the inscriptions, respectively by deteriorating, marking with distinctive signs (blackout, scribbling, etc.) or even completely destroying the images that represented them. As we will try to demonstrate, this kind of practice has a strong ethical connotation, offering, besides a series of genuine documents about historical events, a moralizing example based on a certain type of ideology specific to the space where they originated. Our work proposes to exemplify such a case, originating from the 16th century in Moldavia, referring to the personality and visual representations of Prince Iliaş who appears in various artistic representations, such as the votive paintings of Humor, Baia, Moldoviţa and Probota . It is worth noting from the beginning that the act of condemning memory was most often done as a sign of an epoch-end (dictatorship) and the beginning of a new one in which the recollection of the tyrant (or of that particular personality) was destroyed, and the images that reminded of him were vandalized. As history shows, when such a phenomenon took place, hatred of the dictators of the periods of sad remembrance was reflected, most of the time, upon the works of art that they represented, or the documents that mentioned them, without taking into any account the importance, value, costs or efforts made to achieve them.

Le thème de la vanité occupe une place de choix dans Le Tramway de Claude Simon. Dans ce texte, il a adopté une nouvelle conception de la vanité. Certes, l’auteur a toujours évoqué des thèmes intimement associés à la vanité, tels que le thème de la mort, le thème de la mélancolie, le thème de la guerre, etc., mais la finitude a toujours été pour lui une phase cruciale pour le retour au primordial et à l’origine, pour le commencement d’un nouveau cycle de la vie. Dans Le Tramway, la vanité du monde est présentée d’une manière tragique. Il n’y a aucune référence à la primordialité ni au retour cyclique des choses. L’auteur insiste sur l’actualisation, dans la mémoire, du temps de la mort. Un nombre important de métaphores et de symboles mettent en exergue ce thème de la mort ; c’est comme si l’auteur lançait au lecteur un memento mori de la part de quelqu’un sur le point de vivre cette expérience funeste qui est irrémédiable et définitive. C’est ce qui confère au texte une dimension tragique et humaine indéniable.