Adonis

For the full article, please email me at margulies@nyu.edu or visit https://doi.org/10.1017/S0009838820000919

One of the more powerful recurring motifs in the Iliad is that of the grief-stricken woman lamenting the death of a hero. As with much else in the Homeric epics, these scenes have a formulaic character; when Briseis laments Patroclus, and Hecuba, Andromache and Helen lament Hector, each is depicted delivering a specialized form of speech, specific to the context of a woman’s lament. The narrative depiction of grieving women, as well, is formalized, with specific gestures and recurring images that typify these scenes. One element of this depiction that has largely escaped serious consideration is the comparison of a woman in her initial moment of recognition of the corpse to Aphrodite. In this article, I will argue that the allusion is not merely to her beauty but to the myth of Aphrodite and Adonis, specifically the moment of the goddess’ discovery of the death of her mortal lover. As the earliest surviving explicit reference to Adonis in Greek literature appears c.600 B.C.E., this would require a raising of the terminus ante quem for the transmission of the Adonis myth from the Near East to the mid eighth century.

La notion grecque d’opora contient en elle toute l’ambiguïté de l’automne, saison de passage et de devenir. Corne d’abondance antique, elle connote l’épanouissement vital des productions de Déméter, dans la sèche chaleur de l’été, tout en annonçant dans le fruit trop mûr qui se détache de la branche le pourrissement inhérent à toute vie terrestre, dans la froide humidité de l’hiver (to\ met-o/pwron). Aussi n’est-il pas surprenant que le terme d’opora caractérise à la fois la brûlure de la vieillesse et l’éclat de la jeunesse. En effet, les limites qui séparent les saisons en occident ne sont pas marquées de façon aussi nette dans la pensée grecque qui, en tout temps, chante la vie dans son jaillissement, son épanouissement et son endormissement, prélude à une renaissance victorieuse. Tel est le sens des mythes de la végétation, comme ceux de Déméter ou d’Adonis, marqués par une catabase infernale commencée en automne et continuée en hiver, puis par une anabase vitale vers la lumière, poussée de la sève et triomphe de la vie en été, l’été qui porte déjà en lui les stigmates de l’automne. Cette conception cyclique du temps donne à l’opora grecque une riche ambiguïté que les poètes sauront exploiter, en particulier Théocrite, à la fin de son Idylle VII, dont Claudel fera une relecture chrétienne, enrichissant ainsi le concept grec d’opora d’une dimension ontologique et théologique.

Mahmoud Darwish and Ali Ahmad Said Esber 'Adonis' ,both poets of enormous fame possess a distinct similarity of undergoing the ordeal of exile that incited them to pen down their catastrophic voyage of their life through the craft of poetry. Adonis' poetry largely rests upon what he calls 'internal exile' which he thinks to be an impetus for a poet. Mahmoud Darwish whose " work carries the mark of the sensitive émigré's obsession with his own fate and his hopeless attempts to make any satisfying contact with his new surroundings ". The obvious dissimilarity of these two poets lies in how they deem exile in their poetry; Darwish like modernist laments and angrily screams in his poetry, on the other hand Adonis like a post-modernist celebrates his 'exile' in his verses. Spending a longer quarter of their life in exile, poetry has been the only hope and solace for both the bards, where they build up their eternal home with words that no troops of invader could sabotage. Darwish tracks down his home in his poetry.

Okuyucu bu metinde oldukca garip, ayni olcude zengin bir tarihe sahip olan bir yiyecegin oykusunu bulacaktir. Antropolojik kokleri en ciplak haliyle olasilikla yazili tarih oncesinin cig et yeme pratigine dayandirilabilen, ancak medeniyetle birlikte farkli kulturler (gocebe-yari gocebe-tarimci) ve dinsel gelenekler (Yunan ve Dogu, ayrica Girit gibi guneyli ve adali) uzerinden surdurulegelmis ve o kulturlerce iceriklendirilmis, dahasi, arka planindaki olasi insan kurbani ve yamyamliga ragmen, once Orfiklerce, sonra Yeni Pisagorcularca modifiye edilmis olan bir yiyecekle karsi karsiyayiz. Yani, gercekte insan kurbaniyla iliskili olsun ya da olmasin, belli belirsiz arkaik ya da kannibalistik bir imaja sahip olan cig kofte, aslinda ayni zamanda ve ozellikle felsefi bir yiyecektir. Yine de o sadece Yeni Pisagorcular araciligiyla edinmis oldugu felsefi yaniyla da tarif edilemez. Cig koftenin astrolojiyle ilgili bir yani da vardir ve biz bunu onun geleneksel yedi baharatindaki sayi sembolizminde goruruz. Ote yandan, gayrimedeni, avam ve tasrali imajina ragmen, onun belki de simyevi bir yanindan bile soz edilebilir. Bu calismada ilk kez cig koftenin kokleri, tarihi, yaslandigi sembolizm, iliskilendigi dinsel ve dinsel olmayan gelenekler ve mitolojiler gibi konular irdelenmistir.

Toute activité sportive est perçue en général comme étant positive et bénéfique. Mais quand, cette activité libératrice à la base, devient addiction, teintée de souffrance et des syndromes de manque, elle n’est plus centrée sur le plaisir, mais elle empêche le bon fonctionnement du sujet dans les autres domaines de sa vie. Creusant cette problématique, particulièrement dans l’activité de la musculation, nous avons touché au fond de la psyché, à un complexe, celui d’Adonis, qui englobe notamment les domaines du narcissisme défaillant, de l’estime de soi oscillante, et ses répercussions sur l’image du corps que l’Adonis travaille à changer, pour relayer à des assises narcissiques défaillantes. À travers les thèses analytiques des relations d’objets, les thèses sociales, passants par les thèses neurobiologiques, nous avons démontré notre problématique. Puis à travers des entretiens cliniques et des tests scientifiques administrés à des hommes qui fréquentent les salles de gym pour exercer la musculation, nous avons vérifié nos hypothèses. Tout cela dans le but d’aider les hommes à trouver des moyens pour désamorcer leur insatisfaction corporelle et apprendre à reconnaître leurs problèmes, trouver de nouvelles manières de percevoir leur corps et découvrir d’autres façons d’avoir confiance en eux-mêmes et un sentiment d’accomplissement en soi, loin de toute forme d’addiction.

Activité physique - Addiction - Anorexie masculine renversée - Anxiété - Complexe d’Adonis - Compulsion - Corps - Défaillance narcissique - Dépendance - Dépression - Dysmorphophobie - Dysmorphie - Estime de soi - Fixation – Homosexualité - Image corporelle - Masochisme - Musculation - Narcissisme - Narcissisme primaire - Narcissisme secondaire - Phobie - Relation d’objet narcissique - Sport - Théorie de la Relation d’objet - Trouble obsessionnel compulsif -

Im vorliegenden Aufsatz wird der phönizisch-punische kultische Ausdruck, mqm ʾlm mtrḥ ʿštrny, gemeinhin als Andeutung eines hohen priesterlichen Amtes verstanden, behandelt. Im Besonderen erhält das dritte Wort mtrḥ eine neue Deutung, wobei dann der gesamte Ausdruck als der priesterliche Agent verantwortlich sowohl für das rituelle Beweinen wie auch die vorgestellte Vergöttlichung eines Liebhabers der Aschtarte verstanden wird, also als ein Hinweis der „Adonis“-Legende in phönizisch-punischer Überlieferung.

This study examined historical and religious characters and events emanating myth of phoenix manifesting renewal and resurrection after death and destruction in Adonis’s poetries. These concepts is symbols of realities in Arabic societies. Adonis described the society in vortex of leeway, inaction and absolute death. Considering phoenix as a symbol of revolutionary human, Adonis tried to back to glorious period (civilization of Fynyqy) and revolted against current Arabic civilization.
Two usages of phoenix were considered in Adonis’s poetries; first, summoning (the role of a human or as poet himself) and second, eminent noun (clearly expressing the word of phoenix).

Se hace un análisis de la película predecesora de "La seducción" de Sofía Coppola, de Don Siegel, con Clint Eastwood, en la que se estrena como actor de carácter y Geraldine Page, donde se muestra una tragedia a puerta cerrada, donde el infierno son los demás, en medio de una moral de la ambigüedad.

The character of Daphnis, the mythical Sicilian shepherd who has intriguing significance in folklore and religion, becomes an important literary figure in Theocritus, who, in his narrative of Daphnis’ death, makes him the founding figure of his new genre, bucolic poetry. Theocritus’ successors, Bion of Smyrna in his Adonidis Epitaphium, and the anonymous author of Bionis Epitaphium, refer to Daphnis –of course the Theocritean Daphnis– and transform his figure, adapting it to the themes and purposes of their poems. After them, in founding Latin bucolic poetry, Virgil appropriates Daphnis, not only in order to pay tribute to the previous literary tradition, but as a point of departure (and of arrival) in his reflection on bucolic poetry and his relationship with his great Syracusan predecessor.
My lecture aims to retrace the path of Daphnis, to understand, in each poet’s treatment, the elements of vitality and originality that his great inventor Theocritus gave him and which his successors developed at different levels. Virgil, in particular, is able to employ the figure of Daphnis and to charge it with new significance, in order to highlight the great difference between his own poetry and the Theocritean bucolic production.

J'avais rencontré Hanna Mina, mais il y a plusieurs années, et  à Damas. Il m'avait alors proposé, pour cet entretien très amical, et plutôt que de rester enfermés dans cette pièce qu'il avait remplie de bouquins, d'aller vagabonder, de partir en balade dans la ville de Damas...
  En conclusion d'une conversation sur un ton amical,  " je veux m'arrêter d'écrire m'avait-il donc, expliqué.
  Etait-il déjà fatigué, et par cette maladie contre laquelle il avait mené un long combat ou par d'autres de ses raisons de lassitude.  L'écrivain s'était tant donné à la défense de la littérature en arabe, qui avait fondé l'Union des écrivains, syriens, et l'Union des écrivains syriens. Mais il était resté très proche des poètes et conteurs de son peuple,  lui dont  ses lecteurs,  les lecteurs syriens ou du Liban du Soudan ou du Maghreb, disaient qu'il était  leur auteur syrien préféré.
Hanna Mineh, ou Ḥannā Mīnaẗ (arabe حنا مينة), est un romancier syrien, né à Lattaquié (territoire des Alaouites) le 9 mars 19241 et mort le 21 août 2018 à Damas (Syrie)2.

Il a participé à la fondation de l'Association des écrivains syriens et l'Union des écrivains arabes, union qu'il a quitté en 1995 par solidarité avec l'écrivain Adonis

The "dream" is a basic and important idiom in Arabic modern poetry and literary criticism. This idiom, influenced by Sufism or some western schools, made significant changes in the principles of writing modern Arabic poetry. Thus, the Arabic modern poet did not use the previous structures and old frameworks of poetry but sought new ways to create a new language in modern poetry. Among the Arab modern poets, Adonis tries to apply methods of dreamy writing in his works. This article is written based on analytical-descriptive method and aims to introduce the idiom of dream in the literary criticism. It also specifies the techniques of dreamy writing in poetry of Adonis. It concludes that he uses techniques of dreamy writing for example: breaking the grammatical norms including breaking the sign of ascribe, deletion of conjunctions, as well as indetermination of pronoun references. He also uses paradoxical images, defamiliarization in images, and implements practices in text interpretation such as ignorance of words definitions, incomplete sentences, and absence of subject. According to this, it can be concluded firstly that the idiom of "dream" caused a lot of changes in the definition of poetry and in the use of technical equipment in new poetry language, especially in the poems of Adonis. Second, Adonis approached the legacy of Sophism and Sufi writing style by applying new writing practices. Thirdly, he is the only contemporary critic that considers features for dream as: invisibility, ambiguity and infinity; and provides a comprehensive definition of it. Fourth, according to Adonis definition, the idiom of "dream" is different from the Sufism idiom of "observation", because it's not just seeing and viewing and the poet at a higher level interferes and manipulates the concepts. And the last point is that Adonis could, with using these techniques, approach to dreamy writing.

Working on this particular poem by Shakespeare opens many doors to older traditions in poetry and in ideology. Yet Shakespeare is a great modernist in the extreme subtlety with which he uses the binary music of this tradition, introduces many variations and dares to propose incursions into a ternary style. He has both feet in the binary tradition, but he already has part of his brain, at least, in the subsequent greater freedom that will develop in English poetry later. This is why he is a great poet. He can totally integrate, and yet develop and renew a tradition into an opening that leads to further developments.

The purpose of this dissertation is to identify why and how the Jews’ avoidance of pork was singled out from among all of the other other Jewish dietary restrictions in the Greco-Roman world. Approached from the perspective of historical anthropology, pork avoidance is explored through the inter-cultural dialogue among Greeks, Romans, and Jews. Looking at the avoidance of pork as a problem, the dissertation endeavors to understand the way this problem was formulated and resolved within different discourses: the historical narrative of the Maccabbean revolt, Greco-Roman explanations of pork consumption and avoidance, as well as ethnological or philosophical discourses. The avoidance of pork became a symbol of separation not because of a traumatic event (as Mary Douglas proposed) but due to a gradual process. It is shown that Greco-Roman explanations of Jewish pork avoidance, both negative and positive, are understood in the light of: 1) The Greco-Roman conception of the pig, and its sacrifice or avoidance in Greco-Roman cults; 2) The philosophical debate between Stoicism (and later on Christianity) and Platonism on the status of the animal, the limits of the moral community, universalism, and philanthropy.

The 12 entries for the catalogue concern grave goods from the well known archaic cemetery of Sindos, such as a gold necklace, earrings, pins, funerary masκ and pendants,  as well a terracotta figurine and vases of the 6th century BC,
The other 5 entries concern findings from the cemetery of ancient Veroia, one of the most important cities of the Macedonian kingdom, such as a gold diadem with embossed palmette, lion's head hoop gold earrings and terracotta figurines, like those depicting the goddess Aphrodite and a terracotta group with  Aphrodite and Adonis of the Hellenistic period.