La vocación helenística de Julio Cortázar

Monballieu, Aagje

doi:10.4000/bulletinhispanique.1913

Cited by 3 publications

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“…Several scholars, including Adolf Monballieu, David Freedberg, and Koenraad Jonckheere, have acknowledged that identifying the central panel of the Rockox Epitaph as the Incredulity of Thomas is problematic. 67 The subject of the panel is neither clear nor self-evident because the image adheres neither to the biblical texts nor to the expected Christian iconography. Nevertheless, the epitaph is continually referred to as The Incredulity of Thomas.…”

Section: Appearing To Peter Paul and John-without A Doubtmentioning

confidence: 99%

“…Following Jacob van der Sanden, Adolf Monballieu, David Freedberg, Barbara Haeger, and Marius Rimmele suggest that Thomas is the youngest apostle. 81 Agreeing with Max Rooses, Thomas Glen points to the oldest man as Thomas. 82 Rounding out the possibilities, Lodewijk Taeymans, Cyriel Verschaeve, and Willibald Sauerländer have called the middle-aged man Thomas.…”

Section: Appearing To Peter Paul and John-without A Doubtmentioning

confidence: 99%

“…Christ and the Penitent Sinners is an atemporal, doctrinal piece-and so is the Rockox Epitaph. 110 Expanding on Jacob van der Sanden's identifications of the apostles, Adolf Monballieu first described the Rockox Epitaph as a doctrinal piece that represents belief in the resurrection of the dead. 111 According to Monballieu, the apostles Thomas, Peter, and Paul were chosen because of their testimony in connection with the Risen Lord-not because of their presence at a particular apparition.…”

Section: A Moment Out Of Due Time a Promise For Allmentioning

confidence: 99%

“…110 Expanding on Jacob van der Sanden's identifications of the apostles, Adolf Monballieu first described the Rockox Epitaph as a doctrinal piece that represents belief in the resurrection of the dead. 111 According to Monballieu, the apostles Thomas, Peter, and Paul were chosen because of their testimony in connection with the Risen Lord-not because of their presence at a particular apparition. 112 In agreement with Monballieu's logic, I suggest that John, Peter, and Paul may have been selected for their scriptural accounts concerning the resurrection of mankind.…”

Section: A Moment Out Of Due Time a Promise For Allmentioning

confidence: 99%

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The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

Grimmett

2023

Arts

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On behalf of the Catholic Church, the Council of Trent (1545–1563) confirmed the usefulness of religious images and multisensory worship practices for engaging the bodies and the minds of congregants, and for moving pious devotees to empathize with Christ. In the center panel of the Rockox Epitaph (c. 1613–1615), a funerary triptych commissioned by the Antwerp mayor Nicolaas Rockox (1560–1640) and his wife Adriana Perez (1568–1619) to hang over their tomb, Peter Paul Rubens (1577–1640) paints an awe-inspiring, hopeful image of the Risen Lord that alludes to the promise of humankind’s corporeal resurrection at the Last Judgment. In the wings, Rockox and Perez demonstrate affective worship with prayer aids and welcome onlookers to gaze upon Christ’s renewed body. Rubens’s juxtaposition of the eternal, incorruptible body of Jesus alongside five mortal figures—the two patrons and the three apostles, Peter, Paul, and John—prompted living viewers to meditate on their relationship with God, to compare their bodies with those depicted, and to contemplate their own embodiment and mortality. Ultimately, the idealized body of Christ reminds faithful audiences of both the corporeal renewal and the spiritual salvation made possible through Jesus’s death and resurrection.

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Section: Appearing To Peter Paul and John-without A Doubtmentioning

confidence: 99%

Section: Appearing To Peter Paul and John-without A Doubtmentioning

confidence: 99%

Section: A Moment Out Of Due Time a Promise For Allmentioning

confidence: 99%

Section: A Moment Out Of Due Time a Promise For Allmentioning

confidence: 99%

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The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

Grimmett

2023

Arts

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Reversals of Fire: The Philosophy of Heraclitus as Thematic Subtext of Julio Cortázar's 'All Fires the Fire'

Praet

Monballieu

2011

Bulletin of Hispanic Studies

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The philosophy of Heraclitus as thematic subtext of Julio Cortázar's 'All Fires the Fire' In an interview he gave a few months before his demise, Julio Cortázar identified two teachers from the Escuela Normal ‗Mariano Acosta' in Buenos Aires as defining influences on his intellectual career. Don Arturo Marasso, his professor of Greek and Spanish literature, was soon aware of Cortázar's literary vocation. He initiated the young Cortázar in ancient mythology, invited him to his home and gave the talented but poor student free access to his personal library. Marasso introduced him to Sophocles, taught him how to read Homer well, and made him appreciate the lyric poetry of Pindar. Under Marasso's influence he also read all the Platonic dialogues. His philosophy teacher, Vicente Fatone, a specialist of logic and epistemology, broadened his knowledge of ancient philosophy and made him read Aristotle. Cortázar recalls that the challenging Fatone inspired him to consider a career in philosophy. Although he did not have the temperament for systematic philosophy, he recalls: ‗Me fascinaba porque la filosofía te mete en lo fantástico, en lo metafísico, pero no tenía un temperamento para avanzar o sistematizar en el campo filosófico y la abandoné.' (Soriano 1983: 4) Heraclitus in the works of Cortázar Throughout his life and writings, Cortázar remained fascinated by classical culture. 1 He seems to have been particularly interested in a philosophical author whose fragments have been compared to the choral works of Pindar and who has been called ‗one of the most powerful 1 Two forthcoming articles by Aagje Monballieu study the importance of the classical tradition for Cortázar: ‗La vocación helenística de Julio Cortázar. Sus lecturas y su formación clásica en el Mariano Acosta (1929-1936)' Bulletin Hispanique 2012 and ‗Más que un amateur esclarecido. La afición de Julio Cortázar por la filosofía de Heráclito': on the presence of Heraclitus in his personal library, forthcoming in Neophilologus 2011. stylists not only of Greek Antiquity but of World Literature' (Kahn 1983: IX): Heraclitus of Ephesus (° ca. 540 B.C.). Cortázar owned several scholarly books on the philosophy of Heraclitus and it is even fair to say that he collected editions and translations of the Heraclitean fragments. His collection included editions of the original Greek next to Spanish, French and English translations by Battistini, Brun, Farré and others. His love for Heraclitus was also known to his friends: we know e.g. that his copy of Heraclitus by Philip Wheelwright (1959) was a gift from his friend the critic Ana María Hernández. 2 Heraclitus appears quite often in his writings: both in early and in very late publications. In a short essay published a few years before his death, ‗Un sueño realizado' (1980), 3 Cortázar mentions Le rayon vert by Jules Verne (1882) and he compares this natural phenomenon to the transformation of the elements as described by Heraclitus. 4 ‗Sobremesa' (Final del juego), published in 1964, has fragment DK 52 as its motto: ‗...

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A Reinterpretation of the Allegory of the Cave in Rayuela’s Chapter 28 of Rayuela

Claude¹

2022

hispanismes

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La vocación helenística de Julio Cortázar

Cited by 3 publications

References 4 publications

The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

Reversals of Fire: The Philosophy of Heraclitus as Thematic Subtext of Julio Cortázar's 'All Fires the Fire'

A Reinterpretation of the Allegory of the Cave in Rayuela’s Chapter 28 of Rayuela

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