Bronzino’s allegory of ‘Venus and Cupid’: An exemplary image for contemporary sexual health promotion?

Recent sexual health promotion strategies have veered between a negative emphasis on the deleterious consequences of sexually transmitted infections, and a more positive, eroticized approach to safer sex. The differences in approach are starkly reflected in the images chosen to illustrate them. We note that there are problems with both approaches. The main purpose of this review is to demonstrate how this dichotomy was transcended by the sixteenth century Florentine Mannerist painter, Agnolo Bronzino, in his allegory on syphilis

Breath : allegory, knowledge practices, youth at-risk

Youth and risk are artefacts of expertise, constructed at the intersection of a wide range of knowledges about Youth and so-called Youth issues: an intersection marked by institutionalised, scientific representations of education, family, the life course, risk, and so on. In this paper I suggest that the messiness of human experiences and existence requires knowledge practices in the social sciences that can rethink what counts as truth. These interests – which are grounded in the knowledge practices that frame the work being undertaken in a large scale, qualitative investigation of the cultural drivers shaping the alcohol practices of 14 to 24 year old Australian’s - will be addressed through a discussion of the ways in which Tim Winton’s (2008) new novel Breath can be read as an allegorical tale about the terror of being ordinary: and of the teenage years as being a time in a life in which the fear of being ordinary compels Winton’s key characters to seek out, sometimes stumble upon, and embrace that which promises to make their’s a life less ordinary. In these recollections risk is something that breathes energy and purpose into lifeworlds that are dominated by the institutionalised ordinariness of family, school, and work.

Breath and the truths of youth at risk : allegory and the social scientific imagination

The ways that we have invented for knowing young people are governmentalised. This governmentalisation produces powerful incentives to conform to the rule-bound and institutionalised knowledge practices that institutions, government departments, corporations, and NGOs understand as being capable of telling truths about young people and about risk. I argue that knowledge practices in the social sciences should trouble what counts as truth, as evidence, and the ways in which these truths can be produced.

These interests will be examined through a discussion of the ways in which Tim Winton's novel Breath can be read as an allegorical tale about the terror of being ordinary: and of the teenage years as being a time in a life in which the fear of being ordinary compels Winton's key characters to seek out, sometimes stumble upon that which promises to make their's a life less ordinary. Here risk is something that breathes energy and purpose into lifeworlds that are dominated by the institutionalised ordinariness of family, school, and work. As an allegorical tale told from the vantage point of hindsight, Breath unsettles what it is that the social sciences can tell us about youth (as becoming) and risk (as mitigated by prudential foresight).

From Similes to Allegory: The Deconstruction of Chariot Imagery in Early Buddhist Texts, Analyzed with Cognitive Metaphor Theory

The presentation will start by unfolding the various layers of chariot imagery in early Indian sources, namely, chariots as vehicles of gods such as the sun (sūrya), i.e. as symbol of cosmic stability; chariots as symbols of royal power and social prestige e.g. of Brahmins; and, finally, chariots as metaphors for the “person”, the “mind” and the “way to liberation” (e.g., Kaṭ.-Up. III.3; Maitr.-Up. II. 6). In Buddhist and non-Buddhist sources, chariots are in certain aspects used as a metaphor for the (old) human body (e.g., Caraka-S., Vi.3.37-38; D II.100; D II.107); apart from that, there is, of course, mention of the “real” use of chariots in sports, cults, journey, and combat. The most prominent example of the Buddhist use of chariot imagery is its application as a model for the person (S I.134 f.; Milindapañha, ed. Trenckner, 26), i.e., for highlighting the “non-substantial self”. There are, however, other significant examples of the usage of chariot imagery in early Buddhist texts. Of special interest are those cases in which chariot metaphors were applied in order to explain how the ‘self’ may proceed on the way to salvation – with ‘mindfulness’ or the ‘self’ as charioteer, with ‘wisdom’ and ‘confidence’ as horses etc. (e.g. S I. 33; S V.7; Dhp 94; or the Nārada-Jātaka, No. 545, verses 181-190). One might be tempted to say that these instances reaffirm the traditional soteriology of a substantial “progressing soul”. Taking conceptual metaphor analysis as a tool, I will, in contrast, argue that there is a special Buddhist use of this metaphor. Indeed, at first sight, it seems to presuppose a non-Buddhist understanding (the “self” as charioteer; the chariot as vehicle to liberation, etc.). Yet, it will be argued that in these cases the chariot imagery is no longer fully “functional”. The Buddhist usage may, therefore, best be described as a final allegorical phase of the chariot-imagery, which results in a thorough deconstruction of the “chariot” itself.