With the aim of conscientization, Rizal's novels Noli Me Tangere
(1887) and El Filibusterismo (1891) incorporated all the resources of irony, satire, heteroglossia (inspired by Cervantes and Rabelais), and the conventions of European realism to criticize the abuses of the Church and arouse the spirit of self-reliance and sense of dignity in the subjugated natives.
The Limits of Control is partly inspired by one such strain--French secret-society conspiracy narratives, most pertinently the silent serials of Louis Feuillade (Les Vampires , Judex ), Jacques Rivette's early New Wave Paris Belongs to Us (1960) and his epic Out 1: Noli Me Tangere
(1971), and many of the films that the Chilean director Raul Ruiz has made over the past thirty-odd years in France and Portugal.
Moreover, Eller minimises Titian's involvement in the Dresden Venus, while arguing--quite unconvincingly--that Giorgione had a major hand in such compositions as the London Noli Me Tangere
, the Three Ages of Man in Edinburgh and the Vienna 'Gypsy Madonna'.
Arguing that Levy intends to conflate the Victorian sense of Magdalen as fallen woman with the biblical figure, Scheinberg interprets Levy's Magdalen as rejecting the unromantic, "heartless" redemption offered her by a Christ who has, in effect, abandoned her with the warning "noli me tangere
In support of his position, Er asmus, again in 1524, quotes from Virgil, namely Dido's lament that she could not live without experiencing, literally touching, the troubles (non tangere
curas) of marriage (Aeneid, 4, 551).
22) After the actors playing Christ and Mary Magdalen exchange the speeches leading up to "Noli me tangere
," Christ disappears behind the left side of the altar and reappears on the right side, as if now in divine form, to speak to all three Marys.
I think it's Emma Goldman I've fallen for each time: a spirit that hisses: nole me tangere
By contrast, Noli Me Tangere
is something like a manifesto of the new conditions of the image today.
Focusing on the Noli me tangere
, the Madonna with Eight Saints, and the Annunciation, he reveals their multivalent significance, treating the paintings as virtual figurations of theological speculation and vehicles for spiritual meditation.
From Noli me tangere
pictures showing Christ leaning away from the Magdalene's hand, one sometimes gets the impression that the painter himself would not have been so coy.
And again, in a mock epitaph: "Epitaphinto Adriani: Hic iacet Adrianus, cave qui successeris illi / Continuo solium tangere