The main purpose of this article is to trace the destiny of the homoerotic narrative genres of BL (Boy Love) and GL (Girl Love) in the South Korean context and, more precisely, to determine the impact of this family of genres on South Korean gendered reality. The paper presents an overview and a small selection of ethnographic voices related to the genres while trying to understand the specific local conditions of the production and consumption that have ensured BL and GL have had a lasting influence in South Korea among pop-cultural audiences and female creators.
Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems' imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet's character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem's poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death. ; Li Shangyin (813–858), eden najbolj občudovanih, skrivnostnih, dvoumnih in provokativnih kitajskih pesnikov, je živel v poznem Tangu (9. stoletje), v obdobju zatona nekdaj veličastne dinastije Tang, ki so ga zaznamovali družbeni nemiri, politična razklanost in mučna vsesplošna negotovost. Slovi kot nadvse izviren in angažiran pesnik, ki je razvil svojski slog, nabit z nejasnimi, težko razumljivimi aluzijami in nenavadnimi podobami, ki jih je črpal iz literarne preteklosti, tj. iz tradicionalnega kanona, mitov in legend, ter iz narave in lastnih izkušenj. Druga značilnost njegove poezije je skrivnostnost, ki nazadnje vodi v dvoumnost. Ta igra osrednjo vlogo v večini njegovih pesmi. V njih mojstrsko povezuje sedanjost s preteklostjo, resnično z namišljenim in zgodovinsko z mitološkim. In prav ta dvoumnost oz. nejasnost pogosto poraja njihove različne, na domišljiji, domnevah in protislovjih temelječe interpretacije posameznih razlagalcev. Ker vsaka poudarja zgolj eno plat pesnikovega značaja, je bolj primerno tisto razumevanje Lijevih dvoumnih pesmi, ki temelji na simbolni ravni, ko pesem sočasno pomeni več kot le eno stvar oz. ko razširi in odpre svojo pomensko pokrajino različnim razlagam.Li Shangyin je pravzaprav najbolj znan po svoji melanholični ljubezenski poeziji, ki razkriva njegov dvoumen odnos do ljubezni, zavit v skrivno sporočilo. Na eni strani je mogoče čutiti njegovo moralno neodobravanje skrivne, vroče, a brezupne ljubezni, na drugi pa njegovo strastno poželenje, kar vodi v medsebojno napetost obeh nasprotnih vidikov, v paradoks. To pomeni, da privlačnost prepovedane ljubezni zahteva visoko ceno. To so pesmi, v katerih Li proučuje različne plati svetov strasti, ki sprožajo v njem tako občutke ljubezenske vzhičenosti, zadovoljstva, radosti in upanja kot tudi občutke dvoma, razočaranja, obupa in celo misli na smrt.
Through his analysis of classical sources, the author finds no convincing grounds for understanding the myth of Europe as the foundational myth of the modern political & cultural entity that calls itself Europe. In this Europe, however, it is widely believed that Greek myth is the European foundational myth. By taking over Greek & Roman interpretations of the myth of Europe as a love story, & the adjunct eroticizing & banalizing the rape of Europe, rape has become a constitutive element of European identity. Adapted from the source document.
The ethical distress of the (post)modern world stimulates and directs us to reflect our ethical and cultural grounds. Man is a transcendent being. He cannot reach or put in order immediate goods he needs if he is not prepared to acknowledge the grounds of his person and develop the virtues of prudence, love, hope, faith, wisdom, justice, courage, temperance etc. These are ethical questions concerning different worldviews and cannot be solved only by scientific methods. Many people who in the past did not care for religion as such, now take seriously religious personal and societal aspects of humane life. The fundamental crucial questions of man are ethical questions. They are in various ways related or perplexed with the question of faith and of science.
