《女人的幻想》中的女性形象与爱神的幻想

IF 0.1 0 CLASSICS
N. Ivanov
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引用次数: 0

摘要

在本文中,我们分析了奥兰多成为主角的轨迹,从Ionel bu的小说Femei de iasomie,通过情色游戏和爱情的各个方面。小说所描绘的女性形象,影响和塑造了各种社会文化背景,情绪,自我与自我的关系,以及她们作为意义原型的意义。事实上,对利吉亚-维多利亚的神秘之爱是对自我的解释学,是对发现历史现实的出口的解释学,是对新的人类状况——新冠病毒——的歇斯底里的解释学,也是对人类意识从肉欲之爱向柏拉图式之爱的转变的解释学。茉莉花屋及其所有衍生品-旧,维多利亚,玛雅,利吉亚的肖像,表达了男性和女性的深刻融合,成为一个原型自我。这样,在情爱冒险和性狂喜之外,主人公通过个体化的过程,在流行病等约束的背景下发现了爱欲作为一种神秘的表现。通过对女性形象的分析和对爱欲的幻影的分析,对主人公的整个灵魂进行了解释学研究。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Female Figures and the Phantasies of the Eros in Femei de iasomie by Ionel Buşe
In this article we analyze the trajectory of becoming the protagonist Orlando, from the novel Femei de iasomie by Ionel Buşe, through the erotic game and the facets of love. The women, the portraits of whom the novel is imparting, influence and shape various sociocultural contexts, moods, the relation of the ego to the self and, with them, their meaning as an archetype of meaning. The mystical love for Ligia-Victoria is, in fact, a hermeneutic of the self, of the discovery of the exit from the historical reality, hysterized by the new human condition – the Covid, and of the transformation of human consciousness through the flow from carnal to platonic love. The jasmine house with all its derivatives – the old, Victoria, Maia, the portrait of Ligia, expresses the profound fusion of the masculine and feminine into an archetypal self. In this way, beyond erotic adventures and sexual ecstasies, the protagonist, through a process of individuation, discovers eros as a mystical manifestation in a context of constraints such as pandemic. The hermeneutical investigation follows the analysis of female figures and the phantasms of eros for to order the whole soul of the hero.
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CiteScore
0.40
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15
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