Liberating Mythography

T obin Stanley argues that through the intertextual dialogue between the cinematic central plot and mythological stories, which are artistically presented by the masters of Spain’s Golden Age, Iciar Bol-lain’s plot in her film Te doy mis ojos (Take My Eyes) 1 becomes one of liberation. Tobin Stanley analyzes a victim’s experience of domestic violence as a type of exile. She shows that the Golden Age artworks incorporated by Bollain invite the viewer to draw parallels between the female lead and the artistic texts. The juxtaposition between the ecclesiastical art and its secular counterparts reflects the tension between, on the one hand, the rigid, hierarchical patriarchal structure of the Roman Catholic Church that prescribes gender norms and, on the other, the sensuality and Kristevian jouissance depicted in Titian’s Danae recibiendo 1a lluvia de oro and Rubens’s Las tres gracias as well as his Orfeo y Euridice. Baroque art thus becomes a window into two irreconcilable symbolic orders, one of which is the source of the protagonist Pilar’s “domestic exile.” Through the mythological subjects like exiled Eurydice, Vilar learns that home is found through joy, support, and, most importantly, within herself. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Art · Baroque · Literature · Mythology · Parallels · Plot (graphics) · Psychoanalysis · The Symbolic · Colonialism, slavery, and trade · Psychology

• The Literary Mind of Medieval and Renaissance Spain

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• Jung and Feminism

  Susan E Henking, Demaris S Wehr et al.•Journal for the Scientific Study…•1989

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