This essay offers a political reading of the artistic choices made by seventeenth-century painters in their depictions of the heroines of Tasso’s Jerusalem Delivered. It discusses the political subtext of Tasso’s epic poem by exploring the roles Tasso assigns to his oriental heroines and their representation in seventeenth-century paintings. Painters and patrons alike were particularly enthusiastic about the love stories that developed around Jerusalem. But Tasso is promoting a crusade, and the visual focus of later painters on Tasso’s seductive female (...) protagonists and their submission to Christian warriors, suggests that their aim was to display the delights that await those who join a military expedition to conquer the Holy Land. (shrink)

Although the self is distinct from identity, this essay offers some insight into how identity is maintained—in the processes by which a self is formed, and through the actual content of the schemata that compose the self-concept. The author explains how in the 1920s utopian representations of a “new man” indicate the blank space where an aesthetic for the self can appear long before a theory of choice and commitment can exist in reality. Far from being a dramaturgical plan of (...) action, such utopian representations disorient the elements of discourse in order to prepare the way for the appearance of something inconceivable or inexpressible within this discourse. The theatricality produced in this oppositional public sphere—like that of Max Reinhardt, Bertolt Brecht, Ernst Toller, and later by Jean-Paul Sartre and Albert Camus—can thus be read as expressions of unfulfilled desire resisting the limitations of the present system and breaking beyond with self-defined narratives not yet realized in our everyday lives. (shrink)