%0 Journal Article
%T Cleopatra ¨C a Queen, a Lover, a Mother: Transformations of the Image
%A Lidia WI£¿NIEWSKA
%J Argument : Biannual Philosophical Journal
%D 2012
%I Pedagogical University of Cracow
%X Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra¡¯s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine¡¯s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace¡¯s didactic opposition of contradictory patterns leads to the victory of one of them ¡ª and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition.
%K archetypes
%K Cleopatra VII
%K coincidentia oppositorum
%K Mircea Eliade
%K Karen Essex
%K Horace
%K image
%K imagology
%K mythical patterns
%K William Shakespeare
%K transformations
%U http://argumentwp.vipserv.org/wp-content/uploads/2012/pdfv2n1/argument-3-09-Wisniewska.pdf