Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Gargoyles --- Gargouilles (Architecture) --- Notre-Dame de Reims (Cathedral)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Focusing on the comic genius of Flannery O'Connor, Anthony Di Renzo reveals a dimension of her work that has been overlooked by both her supporters and her detractors, most of whom have concentrated exclusively on her use of theology and parable. Di Renzo compares the bizarre comedy in O'Connor's stories and novels to that of medieval narrative, art, folklore, and drama. Noting an especial kinship between her characters and the grotesqueries that adorn the margins of illuminated manuscripts and the facades of European cathedrals, he argues that O'Connor's Gothicism brings her tales closer in spirit to the English mystery cycles and the leering gargoyles of medieval architecture than to the Gothic fiction of Poe and Hawthorne with which critics have so often linked her work. For Di Renzo the grotesqueness of O'Connor's strange comedy is not a limitation but an accomplishment, deeply rooted in medieval art and satire. O'Connor's peculiar world, he insists, must be accepted on its own terms without consideration of whether it is "ugly." Like the monstrosities carved on the walls at the monastery of Clairvaux, which St. Bernard describes in a famous letter, O'Connor's characters - her rednecks and misfits, her selfish matrons and berserk evangelists - are "deformis formosita ac formosa deformitas," beautifully hideous, hideously beautiful. Relying partly on Mikhail Bakhtin's analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O'Connor's fiction and their parallels in medieval art, literature, and folklore. He begins by demonstrating that the figure of Christ is the ideal behind her satire - an ideal, however, that must be degraded as well as exalted if it is ever to be a living presence in the physical world. Di Renzo goes on to discuss O'Connor's unusual treatment of the human body and its relationship to medieval fabliaux. He depicts the interplay between the saintly and the demonic in her work, illustrating how for her good is just as grotesque as evil because it is still "something under construction." And finally he argues that apocalypse is the culmination of the grotesque in O'Connor's fiction; it is a renewal in destruction, a violent juxtaposition of death and rebirth. For Flannery O'Connor Judgment Day is a cosmic Mardi Gras.

Medievalism --- American literature --- Grotesque in literature. --- Gargoyles in literature. --- History --- European influences. --- O'Connor, Flannery --- Criticism and interpretation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In der ägyptischen Tempelarchitektur finden sich für die Wasserableitung neben schmucklosen Steinblöcken auch figürlich ausgearbeitete Wasserspeier, die durchweg als rundplastische Löwen gestaltet sind. Anders als aus Griechenland, Rom oder von zahlreichen mittelalterlichen Kirchen und Kathedralen bekannt, speien die ägyptischen Exemplare das Wasser jedoch nicht aus dem Maul, sondern leiten es durch eine zwischen den vorgestreckten Pranken angebrachte Rinne ab. Bettina Ventker untersucht in ihrer Studie Der Starke auf dem Dach den Sinngehalt dieser Architekturelemente, der sich keineswegs wie gemeinhin angenommen in der Übel abwehrenden Funktion des Löwen erschöpft. Der Schwerpunkt der Untersuchung liegt dabei auf den dekorierten Löwen-Wasserspeiern der griechisch-römischen Zeit, deren Inschriften Aufschluss über die ihnen zugrunde liegenden Vorstellungen geben und so den wesentlichen Zugang zum Verständnis ermöglichen. Auf Grundlage der in Transliteration und Übersetzung vorgelegten Texte kann erstmals ein umfassendes Bild von der Funktion und Bedeutung der Motivwahl des Löwen gezeichnet werden. Obwohl löwengestaltige Wasserspeier für die gesamte ägyptische Geschichte im Tempelbau belegt sind, wurden sie in der Fachliteratur bislang nur unzureichend berücksichtigt. Um diese Forschungslücke zu schließen, legt Ventker zudem einen Gesamtüberblick über die Konstruktion und Gestaltung der Löwen-Wasserspeier vom Alten Reich bis in die griechisch-römische Zeit vor.

Lion --- Décoration architecturale --- Gargouilles (architecture) --- Dans l'art --- Architecture, Ancient --- Decoration and ornament, Architectural --- Gargoyles --- Lion in art --- Religious architecture --- Temples --- Architecture --- Grotesque in architecture --- Architectural decoration and ornament --- Stonework, Decorative --- Architectural design --- Exterior walls --- Spiritual architecture --- Lions in art --- Details --- Decoration and ornament --- Dans l'art. --- Gargoyles - Egypt --- Architecture, Ancient - Egypt --- Religious architecture - Egypt --- Temples - Egypt --- Decoration and ornament, Architectural - Egypt