Thesis (Ph.D.)--York University, 2005. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves 316-350). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11551

This thesis will shed light on the mechanics of women's enclosure in Spanish cinema and television since the transition to democracy, particularly convent and prison spaces. The study aims to make an original contribution to the field of Spanish cultural studies by highlighting the tension between these spaces as sites of control and sites of community, a tension which both problematizes and enriches the negotiation of the abject, the excessive, and the inassimilable within Spain. Following some contextual scene-setting laid out in the Introduction, the first two chapters explore how the convent was recuperated in the popular imagination after the end of the dictatorship. The first chapter will examine convent space in three post-transition biopics of the sixteenth century Spanish mystic, Teresa de Jesús: Josefina Molina's 1984 TVE television series, Teresa de Jesús, Ray Loriga's 2007 film Teresa, el cuerpo de Cristo, and Jorge Dorado's recent TV movie, Teresa (2015). This analysis will unravel the concrete and historical forces which have shaped representations of the saint's space, particularly how Teresa's mysticism has imbued the convent with authority as a political tool in defining national identity and gender roles. Equally, it will examine how the ineffable experience of the mystic ultimately makes the space unassimilable to any overarching power structure. The impossibility of assimilating convent space will then be the focus of the second chapter which explores the use of different aesthetic registers to render the convent socially intelligible in two mid-eighties convent films, Entre tinieblas (Almodóvar 1983) and Extramuros (Picazo 1985). The next two chapters focus on the construction and management of Otherness in representations of female homosocial enclosure during the mid-nineties. The third chapter looks at two adaptions of the stage play, Canción de cuna - José María Elorrieta's 1961 version and José Luis Garci's 1994 remake - to examine how the radical Otherness of convent enclosure has been mitigated on screen in order to ease anxieties around unmarried, childless women, and to reclaim the space as part of the national landscape. Chapter 4's analysis of Libertarias (Aranda 1995) and Entre rojas (Rodriguez 1996) will contrast this with a study of how the Otherness inherent to homosocial enclosure has also been exploited as a path towards new imaginings of community and intimacy. The final section will examine gender, memory, and martyrdom in women's prison films since 2000: Las trece rosas (Martínez-Lázaro 2007), La voz dormida (Zambrano 2011), and Estrellas que alcanzar (Rueda 2010). This chapter will consider how enclosed environments have been used to frame martyrdom narratives, problematically situating them at the intersection of traditional Catholic iconography and more contemporary depictions of imprisoned and confined women. While the study focuses primarily on cultural production since the transition to democracy, emphasis is placed throughout on tracing the roots of these representations to earlier hagiography, missionary films, and the cine religioso of the 1950s. These connections not only demonstrate the endurance of the convent and prison as significant sites in the Spanish popular imagination but also their versatility as a signifying force and the need for more nuanced readings of them in cultural studies.

Text in German / Die vorliegende Arbeit untersucht primär das Potential christlicher Mystik für die Ekklesia, Koinonia und die Mission der Kirche. Dabei wird berücksichtigt, dass der Mystikbegriff definitorisch nur schwer zu greifen ist, da keine eindeutige Definition dieses Begriffes existiert.. Auf Grund dieser Tatsache entstehen Irritationen und Missverständnisse, gerade auch in der evangelischen und evangelikalen Christenheit, die keine traditionelle Verankerung der Mystik in ihrem Glaubensleben kennen, wie es etwa bei der katholischen Kirche der Fall ist. An dieser Stelle definiert diese Arbeit in einem hinführenden ersten Teil, was christliche Mystik ist, in ihrer Unterscheidung zu esoterischen Phänomenen oder auch nichtchristlichen Mystiken. In der Folge wird nach den praktischen Ausformungen christlicher Mystik anhand von vier exemplarisch ausgewählten spirituellen Übungswegen gefragt. Auch psychologische Fragen, sowie die Frage nach der Mystagogie finden hier ihren Platz. Im Weiteren wird dann das Verhältnis zwischen der christlichen Mystik und der Koinonia, Ekklesia und Mission der Kirche bedacht. Hier ist es immer wieder das zentrale Begegnungsgeschehen, welches im Mittelpunkt des Interesses steht und als verbindendes Element dieser Aspekte ins Blickfeld rückt. Abschließend skizziert diese Arbeit eine mystische Ekklesiologie, wie sie auf Grund der vorangegangenen Erwägungen denkbar ist. Das Potential christlicher Mystik in Gemeindeaufbau und Mission wird verdeutlicht, sowie die Notwendigkeit einer empirischen Überprüfung der aufgestellten Theorie anhand einiger praktischer Anregungen aufgezeigt. / This work mainly asks for the potential of christian mysticism for the Ekklesia, Koinonia and the mission of the Church. In order to this, it is considered that the term mysticism is difficult to grasp by definition, for there is no clear definition of the term mysticism. Due to this fact irritations and misunderstandings are caused, especially in the protestant and evangelical Christianity, that have no traditional anchoring of mysticism in their life of faith, as it is the case in the catholic Church for example. At this point, the work at hand defines in an afferent first part, what christian mysticism is, in distinction to esoteric phenomena or non-christian mysticism. The following part asks for the practical forms of christian mysticism with reference to four selected samples of spiritual exercises. At this place, psychological issues are considered too, as well as the question for the mystagogy. In the next part of this work, the relationship between the christian mysticism and Koinonia, Ekklesia and the mission of the Church will be considered. At this point, the occurance of community as a connecting element for these issues is in the focus of interest. Finally, this work outlines a mystical ecclesiology, as it is now possible and conceivable on the basis of the foregoing considerations. The potential of christian mysticism for church development and the mission of the church will be clarified, as well as the need for empirical research and testing of the shown theory by some practical suggestions. / Biblical and Ancient Studies / D. Th. (Missiology)

This thesis explores the major novels of science fiction and fantasy writer, Ursula K. Le Guin: it follows her journey from her first imaginary country, Orsinia, through the inner lands of Earthsea and the outer spaces of the Hainish Ekumen to her Yin utopia in a future California and an Earthsea revisited. In each of these worlds she moves towards an experience of an inner, unified truth which is comparable to the ecstatic experience of the religious mystics and that of which T.S Eliot writes in his Four Quartets. Through her reading of the Taoist sages and the discovery of their perception of Life as a constant and ongoing process rather than as a series of isolated events or states, whether mystical or mundane, these worlds and planets become symbols of a way of life instead of static objects. In her medium, narrative, this way is embodied in the story: the movement towards that moment of enlightenment, which is revealed as the heart, the life-giving centre of each world. It is the home to which each journey returns. "True voyage is return' (The Dispossessed). Owing to this perception of the immanent (w)holiness of life, of the many, different realities, she moves from a serene Taoist equilibrium to an angry feminist rejection of the masculine, dualist, Western civilisation, in which Man has largely been perceived as a creature apart; apart from nature, a guest on this planet, belonging to another world. In her anarchist and feminist utopias she seeks a new spititual home, a less alienated identity for humankind. Despite this apparent "development", at the heart of aU her books there is that same joy in this, mortal life, the search for which she sees as the most essential of aU human pursuits. That, ultimately, is both source and subject of Le Guin's work; and each new world explored is a different manifestation of the joyful Tao, a celebration of life.

O presente trabalho aborda a vida do artista Amedeo Clemente Modigliani, judeu não ortodoxo, que sempre buscou um saber artístico e filosófico e que se lançou na busca da arte e da mística judaica: a Cabala. Este estudo revela a maneira como questões místicas são expostas em suas obras de modo pouco perceptível. Para atingir os objetivos propostos, foi realizada uma pesquisa bibliográfica e exploratória, em busca de um referencial teórico e prático para a compreensão e elucidação dos fatos e a demonstração de como este artista abriu-se para o mundo sem perder suas raízes fundamentadas na tradição judaica. / The present work deals with the life of the artist Amedeo Clemente Modigliani, an unorthodox Jew, who has always sought artistic and philosophical knowledge and who has launched the quest for Jewish art and mysticism: the Kabbalah. This study reveals how mystical questions are exposed in their works in a barely perceptible way. In order to reach the proposed objectives, a bibliographical and exploratory research was carried out, in search of a theoretical and practical reference for the understanding and elucidation of the facts and the demonstration of how this artist opened up to the world without losing its roots based on the Jewish tradition.

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2017-09-15T14:20:39Z No. of bitstreams: 1 Christian_C_Kuhn_2016.pdf: 1129811 bytes, checksum: f044b4dd58c912f9eeca471c3e754151 (MD5) / Made available in DSpace on 2017-09-15T14:20:39Z (GMT). No. of bitstreams: 1 Christian_C_Kuhn_2016.pdf: 1129811 bytes, checksum: f044b4dd58c912f9eeca471c3e754151 (MD5) Previous issue date: 2016-09-20 / In this work, we intend to present a philosophical analysis about Kant's relationship with Mysticism revisiting classic Kantian concepts that have an articulator function of this issue, namely, the distinction between a sensitive and intellectual intuition (intellectus archetypus) and their close but neglected relationship to the concept of archetype in Religion and typus in the second Critique, intuitive and symbolic knowledge and the anthropological concepts still almost unknown as the gift of divination and the faculty of prediction to forecast. We will also present the Kantian´s enthusiastic apology of sensibility and the subject of unconscious representations alsosubliminal in the first Critique. Finally we will conduct a more detailed analysis of Swedenborg´s case presenting a short diagnosis of Kant. Despite the apparent irrational nature of the subject, the philosopher thoroughly occupied this motiv or this philosophical problem that concerns on the fundamental philosophical question, deep and critical about the constitutive nature of what is usually and imprecisely called Mysticism. However, this designation seems to support a kind of subtle philosophical prejudice, that is, the apparently clear and disinterested objectivity in order to predispose the analysis of what would present itself as the "mystical experience"; as something already known, although attached to this, an anathema of insanity or at least something that is not philosophical, objetive. According to some scholars and highlighted textually by Kant himself, this relationship quite paradoxical, that is, Kant himself, considered one of the great exponents of German Aufklärung, a philosophical and spiritual phenomenon, found himself vacillating in their judgment. However, as we seek to show throughout this work, far from being uninteresting to Kant, the philosopher thoroughly occupied this topic, or even what we might call, this philosophical problem, which presents itself surreptitiously in his Critical Philosophy. As we will see throughout this work, according to scholars was precisely the struggle between Enthusiasmus and Schwärmerei that flourished German Aufklärung. From this conflictual relationship between objectivity and subjectivity, reason and faith,hypochondriac andmelancholic crisesand massive cases of suicides iswhere Kantian clash with Mysticismemerge, and it is in this context of dilemmas that Kant develops his Critical and Transcendental Philosophy. According to Baigorria (2014), The Schwärmerei phenomenon since Kant´s context was something controversial and devoid of a philosophical criterion purely objective and impartial, although originally was associated with religious fanaticism, and the clash between Luther and the Anabaptists, the Schwärmerei would have suffered numerous semantic and cultural changes. If we remember and reflect deeply about the scope of the four questions raised by Kant in his Logic, after and worthy hermeneutic review, an updated phenomenological of the ancient wisdom, we would understand why all these questions are referred to the last one, The Human, and therefore self-knowledge. Only then we will be willing to follow the exhortation exposed at the Delphic temple´s porch: "If you cannot find within yourSelf what you are searching for, nor you will find out. Man, know thySelf and you will know the Universe and the Gods!". / Neste trabalho, pretendemos apresentar uma análise filosófica acerca da relação de Kant com o Misticismo revisitando conceitos clássicos kantianos que possuem uma função articuladora desta temática, a saber, a distinção entre uma intuição sensível e intelectual (intellectus archetypus) e sua relação íntima, porém negligenciada com o conceito de arquétipo na Religião e typus na segunda Crítica, o conhecimento intuitivo e simbólico, bem como conceitos antropológicos ainda quase desconhecidos como o dom divinatório e a faculdade de previsão, etc. Apresentaremos também a entusiástica apologia kantiana da sensibilidade e o tema das representações inconscientes também subliminares na primeira Crítica. Finalmente iremos realizar uma análise mais detalhada do caso Swedenborg apresentando um diagnóstico de Kant. Apesar da aparente natureza irracional do assunto, o filósofo se ocupou exaustivamente deste problema filosófico que se refere à questão filosófica primordial, profunda e crítica acerca da natureza constitutiva do que se convenciona chamar de Misticismo. No entanto, esta designação parece favorecer a uma espécie de preconceito filosófico sutil, ou seja, com a aparência de uma objetividade evidente e desinteressada de modo a predispor a análise disso que viria a se apresentar como a “experiência mística” como algo já conhecido, embora anexado a esta, um anátema de insanidade ou, no mínimo, de algo que não é filosófico, objetivo. Segundo alguns estudiosos e evidenciada textualmente pelo próprio Kant, tal relação é um tanto quanto paradoxal, ou seja, o próprio Kant, considerado como um dos grandes expoentes do Aufklärung alemã, diante de tal fenômeno filosófico e espiritual, se viu vacilante quanto aos seus juízos. No entanto, como buscamos mostrar ao longo deste trabalho, longe de ser desinteressante para Kant, o filósofo se ocupou exaustivamente deste tema, ou até mesmo, o que poderíamos chamar, deste problema filosófico, o qual se apresenta sub-repticiamente em sua Filosofia Crítica. Como veremos ao longo deste trabalho, segundo estudiosos foi justamente no embate entre o Enthusiasmus e a Schwärmereique que floresceu a Aufklärung alemã. A partir dessa conflituosa relação entre objetividade e subjetividade, razão e fé, acessos hipocondríacos, crises melancólicas e massivos casos de suicídios é que surge o embate kantiano com fenômeno do Misticismo, e é neste contexto de dilemas que Kant desenvolve sua Filosofia Crítica e Transcendental. O fenômeno da Schwärmerei já na época de Kant era algo controverso e desprovido de um critério filosófico puramente objetivo e imparcial, segundo Baigorria (2014), embora originalmente estivesse associado ao fanatismo religioso, e ao embate de Lutero com o Anabatistas, a Schwärmerei teria sofrido inúmeras modificações semântico-culturais. Se recordarmos e refletirmos profundamente acerca do escopo das quatro questões apresentadas por Kant em sua Lógica, após uma revisão hermenêutica e fenomenológica atualizada e digna da sabedoria dos antigos, entenderemos o motivo pelo qual todas elas se referem ao Homem, e, portanto ao autoconhecimento. Só assim estaremos dispostos a seguir a exortação exposta no pórtico do templo de Delfos: “Se não podes encontrar dentro de ti mesmo o que buscas, tampouco encontrarás fora. Oh Homem, conheça a ti mesmo e conhecerás o Universo e os Deuses! ”.

Orientador: Arley Ramos Moreno / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T16:37:59Z (GMT). No. of bitstreams: 1 Tavares_FranciscoRenato_M.pdf: 1081407 bytes, checksum: c33afbb41536aa3265aa929f764636b6 (MD5) Previous issue date: 2013 / Resumo: Este trabalho mostra que o misticismo do Tractatus é de fundamental importância para a compreensão da atitude de Wittgenstein perante o mundo e a vida. O místico que se mostra na estrutura do mundo e da linguagem é inefável e, é a única solução para a metafísica. O Tractatus não pretende ser uma negação positivista da metafísica, como sugerido pela interpretação dos membros do Círculo de Viena. Wittgenstein, nesta obra, inaugura uma nova postura diante da metafísica. Quando se atinge a perspectiva de contemplação do mundo sub specie aeterni, é possível perceber porque a metafísica é incapaz de expressar o que há de mais sublime. O silêncio é a única atitude lógico-filosófica de quem compreende que a linguagem esbarra em seus limites, nos limites do mundo, toda vez que queira dizer algo sublime / Abstract: This work shows that the mysticism of the Tractatus is of fundamental importance for the understanding Wittgenstein's attitude towards the world and life. The mystic which is showed in the structure of the world and language is ineffable, and is the only solution for the metaphysics. The Tractatus is not intended to be a positivist denial of metaphysics, as suggested by the interpretation of the members of the Vienna Circle. Wittgenstein, in this work, inaugurates a new attitude toward metaphysics. When one achieves the perspective of contemplation of the world sub specie aeterni, it is possible to see why the metaphysics is unable to express what is most sublime. Silence is the only logical and philosophical attitude of one who understands that language comes up against its limits, within the limits of the world, every time one wants to say something sublime / Mestrado / Filosofia / Mestre em Filosofia

[pt] A presente tese traz como título: Mística e Compaixão: A Teologia do Seguimento de Jesus em Thomas Merton. Ela aborda a teologia espiritual de um dos maiores místicos do século XX, que fez a síntese harmônica entre espiritualidade e solidariedade, contemplação e ação. Sua mística é apresentada aqui como o encontro existencial com o mistério sublime de Deus, da criação e do ser humano. No encontro com esse tríplice mistério (mística), o ser humano se constitui como tal e sem ele a vida perde profundidade e transparência. Pois ainda hoje, em plena era espacial, ecológica e nuclear, o centro do universo continua a ser o coração humano, feito para o Transcendente. O mistério da criação consiste no fato de ela ter o ser e a vida a partir de Outro, ex nihilo, que não Se comporta como usuário ou proprietário, apesar de ver que tudo é bom e belo. Um tal amor infinito, respeitador da alteridade, ocultando-se e se tornando invisível para deixar suas criaturas ser, é paradigmático para nós hoje e inspira o cuidado responsável por todas as formas de vida, humanas e não-humanas. Destarte, a mística mertoniana apresenta um duplo movimento, a saber ascendente: de abertura para Deus e descendente: de abertura ao mundo (na metáfora includente da compaixão), que consiste no empenho por promover a paz, a justiça e cuidado responsável pela criação/ecologia. E pelo fato de a teologia do seguimento de Jesus em Merton ter profundas bases bíblicas, interpretadas numa dimensão libertadora, ecumênica e macroecumênica, ela é capaz de embasar a espiritualidade da libertação latinoamericana: Uma espiritualidade de resistência profética diante das forças desumanizadoras e opressoras do mundo globalizado excludente; uma espiritualidade da solidariedade, que se coloca ao lado das vítimas em seu sofrimento e se engaja na utopia de minimizar a fome e miséria no mundo, até se tornar topia; e, finalmente uma espiritualidade da criação, morada de Deus e do humano. Destarte, nosso objetivo será mostrar que Merton é de fato um dos precursores da espiritualidade da paz na América do Norte, e da teologia da libertação latino-americana. / [en] The theme of this thesis is: Mysticism and Compassion: The theology of following of Jesus according to Thomas Merton. It focuses on the spiritual theology of one of the best known mystics of the 20th century, who made a harmonic synthesis between spirituality and solidarity, contemplation and action. His mysticism is presented here as the existential encounter between the sublime mystery of God, of creation and of the human being. In the encounter with this threefold mystery (mysticism), the human being constitutes herself and without it life loses its deepness and tranparency. Even today, when we live in a spacial, ecological and nuclear era, the center of the universe still continues to be the human heart, made for the Transcendent. The mystery of creation consists in having its being from Another one, ex nihilo, Who does not behave as user or owner, in spite of seeing that everything is good and beautiful. Such an infinite love, respecting variety, hiding Herself and becoming Invisible in order to let Her creatures be, is paradigmatic for us nowadays, and inspires a responsible care for all forms of life, both human and non-humans. Mertonian mysticism has a double movement, namely: ascendent: opening toward God and descendent: opening to the world (compassion), who endeavors to promote peace, justice and the responsible care for creation/ecology. So, his spirituality of following of Jesus is able to embrace the Latin American spirituality of liberation: a spirituality of prophetic resistance against the dehumanizing, oppressive and excluding causes of Globalization; a spirituality of solidarity, that shares the suffering of its victims and the utopia of minimizing hunger and misery in the world, till it becomes topia; and, finally, a spirituality of creation. So, our argument is to prove that Merton is the forerunner of the spirituality of peace, feminism and macroecumenism in North America; and the forerunner of theology and the spirituality of liberation in Latin America.

The aim of this thesis is to explore Gregory of Nyssa’s tabernacle imagery, as presented in Life of Moses 2.170-201. This part of Life of Moses has suffered from relative neglect compared to the scholarly attention conferred on Gregory’s apophatic darkness imagery. For the purposes of this study, Life of Moses 2.162-201 has been divided into nine consecutive sections, given the following headings: Darkness; The tabernacle ‘not made with hands’; Christological interpretation; Divine names; Heavenly powers; The earthly tabernacle; Heavenly and earthly worship; The holy of holies; The priestly vestments. Each section is analysed in the same way. Firstly, Gregory’s text is examined, and his biblical sources identified. Secondly, there is a presentation of relevant passages in the work of his Alexandrian predecessors – Philo, Clement and Origen. Thirdly, there is a discussion of the ways in which Gregory’s fourth century theological context has influenced his interpretation, often causing him to differ from his predecessors. It is under this heading of ‘theological context’ that contemporary scholarly discussions about Gregory are most in evidence. Fourthly, a heuristic comparison with a range of heavenly ascent texts from the Hellenistic and Late Antique worlds is undertaken. It is this methodology of heuristic comparison which is the experimental aspect of the thesis. The aim is not to prove influence, but to use heavenly ascent texts as a foil, in order to shed new light on Gregory’s imagery. Does Gregory’s interpretation of the tabernacle come into focus when viewed through the lens of heavenly ascent? In order to answer this question, the scholarship on heavenly ascent texts is mined for new ways of looking at Life of Moses. The conclusions begin by reviewing the methodology. It is argued that although many of the themes explored stem from the biblical text, and occur in Gregory’s Alexandrian predecessors, the richness of possibilities they provide, and therefore the choices made by Gregory, only become apparent when his work is compared and contrasted with a wide range of other heavenly ascent texts. Even in the case of a fourth century Christian work heavily influenced by Platonism, attending to the Jewish matrix of Christian mysticism pays dividends. The conclusions continue by listing the key ideas discovered in Life of Moses 2.170-201. They end by discussing the relationships between mysticism, theology and politics in Gregory’s tabernacle imagery. It is argued that Gregory holds all three together. This is typical of heavenly ascent texts, which combine descriptions of religious experience with claims to authoritative knowledge. For Gregory, the high point of Moses’ ascent into the darkness of Mount Sinai is the mystery of Christian doctrine. The heavenly tabernacle is a type of the heavenly Christ. This mystery is beyond intellectual comprehension, it can only be grasped by faith; and only the select few, destined for positions of responsibility, should even attempt to do so. But its benefits are available to all through the community’s worship in the earthly tabernacle. Anyone can aspire to wear an airy, angelic robe by living a life of virtue, in which faith and practice go hand in hand.

This dissertation analyzes the theory and practice of the Cuban postmodern writer Severo Sarduy (1937-1993) from his early adult years in Cuba to his exile period in Paris, France, where he lived until his death. By studying his narrative through the light of his theoretical essays, this paper demonstrates that the author created his own type of reading model –from and for Sarduy. His literary work is influenced by three major elements: (post)structuralism, psychoanalysis, and Buddhism, which combined form what Sarduy himself called the Neobarroque style. The Sarduyan writing is a transgressive exercise expressed through his concept of simulación. This style breaks with the traditional art concept of mimesis (the representation of reality in the western world), and therefore with the correspondence between the signifier and the signified. Sarduy does not intend to represent reality but to go beyond it, achieving, by his technique of signifying exhaustion, to represent absence itself. The Neobarroque of Severo Sarduy is an aesthetic of the empty signifier based on the reckless expenditure, and ultimately exhaustion, of the artifices of language that precipitates in a signifier chain towards the infinite. His language does not transmit a message but it signifies itself, that is, a means without an end. Paradoxically, this signifier chain produces an excess of metaphors beyond the material limits of language and its support, the page. The space beyond language is the hipertelic technique inherited by Sarduy from his literary master, José Lezama Lima. This is also the empty space of no signification or nonsense in which occurs the depersonalization of the speaking subject; in Buddhist terminology this becomes the dissolution of the ego. The Sarduyan language is determined by a Lacanian psychoanalytic erotic drive (pulsion) known as the Barroquean desire, a death drive which directly relates to the exile condition of the author. But the genesis of this desire lies in a primordial desire of encounter with his origin: mother, maternal language, paradise, God. That is the reason why Sarduy not only poses an aesthetic question but also an ontological one. This other dimension of the Sarduyan writing is based on a liberating drive that permeates all his work –an ontological liberation expressed through language. The empty space created in the text provides the subject with the possibility of fusion with the all. Ultimately, Sarduy strives for a language that goes beyond the symbolic limits towards a place of constant dissolution, evanesce, and death –horror vacui.