DOI Heft:
Artikuly
DOI Artikel:Zbańska, Marta: "Nie odwracaj się": esej o geście mitologicznym
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37085#0327
ESEJ O GEŚCIE MITOLOGICZNYM
325
P a t t i s o n R., Tennyson & Tradition, London: Harvard University Press 1979.
R a m s e y J., Reading the fire: Essays in the Traditional Indian Literaturę of the
Far West, Lincoln: University of Nebraska Press 1983.
S w a d e s h M., El Lenguaje y La Vida Humana, Meksyk: wyd. Fondo de Cultura
Económica 1966.
Wilhelm R., I-Cing. Księga Przemian, Warszawa: Wydawnictwo Latawiec
1994.
SPIS ILUSTRACJI
1. Antonio Canova, Orfeusz i Eurydyka, 1775-1776, Museo Correr, Wenecja.
2. George Frederich Watts, Orfeusz i Eurydyka, 1870-1872, ostatnia znana lokaliza-
cja: The Leicester Galleries (UK).
3. William „Hamo“ Thornycroft, Żona Lota, 1878, Victoria & Albert Museum.
4. Elizabeth Siddal, Lady z Shalott, 1853, Maas Gallery, Londyn.
5. John William Waterhouse, Lady z Shalott (studium), Falmouth Art Gallery, Fal-
mouth (UK).
“DON’T TURN BACK”.
AN ESSAY ON A MYTFIOLOGICAL GESTURE
S u m m a r y
Throughout history, cultures of diverse peoples often develop similar, virtually identical
myths and legends. Although they are created independently in disparate communities, in dif-
ferent times and places, they reveal unbelievable similarities and analogies. This holds good
for both fully-fledged stories and for individual elements of the plot, which become universal-
like symbols in human imagination over generations. This State of affairs testifies to the uni-
versal naturę of “symbolic thinking,” and to the existence of common archetypical roots of all
cultures, storing images of people, things and events that are symbolic in naturę.
Gestures are one of the archetypal elements. In the analysed case, gestures are understood
as signs of natural expression, dictated by a morę or less conscious impulse. These signs are
manifestations of somatic and spiritual transforming experiences that a person goes through.
They are also a means of communication between the person and the reality s/he experiences.
In this sense, they give insight into this person’s reality. One of the most intriguing gestures
is that of turning back, looking back on one’s past. It is known first of all from the Orphean
myth and the biblical story about Lot’s wife. Nevertheless, it is also to be found in other
stories all over the world.
When he was about to leave the underworld - where he attempted to retrieve his wife
Eurydice - Orpheus turned back despite the evident ban on doing so. Orpheus’ turning back
325
P a t t i s o n R., Tennyson & Tradition, London: Harvard University Press 1979.
R a m s e y J., Reading the fire: Essays in the Traditional Indian Literaturę of the
Far West, Lincoln: University of Nebraska Press 1983.
S w a d e s h M., El Lenguaje y La Vida Humana, Meksyk: wyd. Fondo de Cultura
Económica 1966.
Wilhelm R., I-Cing. Księga Przemian, Warszawa: Wydawnictwo Latawiec
1994.
SPIS ILUSTRACJI
1. Antonio Canova, Orfeusz i Eurydyka, 1775-1776, Museo Correr, Wenecja.
2. George Frederich Watts, Orfeusz i Eurydyka, 1870-1872, ostatnia znana lokaliza-
cja: The Leicester Galleries (UK).
3. William „Hamo“ Thornycroft, Żona Lota, 1878, Victoria & Albert Museum.
4. Elizabeth Siddal, Lady z Shalott, 1853, Maas Gallery, Londyn.
5. John William Waterhouse, Lady z Shalott (studium), Falmouth Art Gallery, Fal-
mouth (UK).
“DON’T TURN BACK”.
AN ESSAY ON A MYTFIOLOGICAL GESTURE
S u m m a r y
Throughout history, cultures of diverse peoples often develop similar, virtually identical
myths and legends. Although they are created independently in disparate communities, in dif-
ferent times and places, they reveal unbelievable similarities and analogies. This holds good
for both fully-fledged stories and for individual elements of the plot, which become universal-
like symbols in human imagination over generations. This State of affairs testifies to the uni-
versal naturę of “symbolic thinking,” and to the existence of common archetypical roots of all
cultures, storing images of people, things and events that are symbolic in naturę.
Gestures are one of the archetypal elements. In the analysed case, gestures are understood
as signs of natural expression, dictated by a morę or less conscious impulse. These signs are
manifestations of somatic and spiritual transforming experiences that a person goes through.
They are also a means of communication between the person and the reality s/he experiences.
In this sense, they give insight into this person’s reality. One of the most intriguing gestures
is that of turning back, looking back on one’s past. It is known first of all from the Orphean
myth and the biblical story about Lot’s wife. Nevertheless, it is also to be found in other
stories all over the world.
When he was about to leave the underworld - where he attempted to retrieve his wife
Eurydice - Orpheus turned back despite the evident ban on doing so. Orpheus’ turning back