Eros ( or ; Ancient Greece: ???? ÃÆ' Â © r? s "love" or "desire") is one of the four ancient Greek-Christian terms that can be translated into English as "love". The other three are storge , philia , and agape . Eros refers to "passionate love" or romantic love; storge for family love; philia for friendship as a kind of love; and agape refers to "selfless love", or "charity" as translated in Christian scriptures (from Latin caritas , dearness).
The term erotic is derived from eros . Eros has also been used in philosophy and psychology in a broader sense, almost identical to "life energy".
Video Eros (concept)
Dalam literatur
Tradisi Yunani klasik
In the classical world, erotic love is generally referred to as some kind of insanity or theia mania ("madness of the gods"). This passion is illustrated by an elaborate metaphorical and mythological scheme involving the "love arrow" or "love arrow", the source of which is often the personified Eros (or his Latin counterpart, Cupid), or other gods (like Rumors). Sometimes the source of the arrow is said to be the image of the beautiful object of love itself. If these arrows arrive in the eyes of a lover, they will then travel to and 'stab' or 'hurt' his heart and flood him with desire and longing (love diseases). The image of "arrow wound" is sometimes used to create oxymorons and rhetorical antithesis about pleasure and pain.
"Love at first sight" is described as the immediate and direct desire of the lover through the actions of these processes, but this is not the only way to enter passionate love in the classical texts. Sometimes passion can happen after the initial meeting, as, for example, in Phaedra's letter to Hippolytus in Ovid's Heroides : "At that time I went to Eleusis... that is the most important (although you have fun my earlier) that penetrating love lodged in my innermost bone. "Sometimes, passion can even precede the first sight, as in Paris's letter to Helen of Troy in the same work, in which Paris says that her love for Helen approached her before she looked at him : "... You are the desire of my heart before you are known to me I see the look of your face with my soul before I see them with my eyes, the rumor, which tells me about you, is the first one to handle my wound."
Whether by "first sight" or by other routes, passionate love often has poor results according to classical authors. In case the loved one is cruel or uninterested, this desire proves to push the lover into a state of depression, causing lamentation and sickness. Sometimes, a loved one is described as an unconscious guardian of the beloved, because of his sublime beauty - the "divine curse" that inspires men to kidnap him or try to rape him. Stories where a man unknowingly sees the bare body of Artemis the hunter (and sometimes Aphrodite) causes similar damage (as in the Actaeon story).
European Literature
The classic conception of love arrows was further developed by the singing poets of Provence during the medieval period, and became part of the European love tradition. The role of the female eye in erotic desire arises mainly emphasized by the ProvenÃÆ'§al poet, such as N.E. Griffin points out:
According to this description, love comes from the eyes of a woman when met by her future lover. The resulting love is delivered on a light beam from his eyes to his eyes, through which he passes to take his home in his heart.
In some medieval texts, the gaze of a beautiful woman is compared to a view of the legendary basilisk - a legendary reptile that is said to have the power to cause death with one view.
These drawings continue to be circulated and elaborated in the literature and iconography of the Renaissance and Baroque periods. Boccaccio, for example, in his book Il Filostrato , mixes the tradition of the arrow of the god of romance with the emphasis of ProvenÃÆ'§ on the eyes as the birthplace of love: "Nor is he (Troilus) so wise not long before. Love with his darts dwells in beautiful eyes... or does not realize the arrow is speeding into his heart. "
The rhetorical antithesis between the pleasure and the pain of love arrows continued into the 17th century, as in, for example, in the classically inspired images of The Fairy-Queen:
If Love is a Sweet Passion, why is it tormented? If a Bitter, oh tell me where my content came from?
Because I suffer gladly, why should I complain,
Or sad at my destiny, when I know it's useless? But so fun Pain, so soft is Dart,
Which at once hurt me, and tickled my heart.
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In philosophy and psychology
Plato
The ancient philosopher Plato developed the idealist concept of eros that proved to be very influential in modern times. In general, Plato does not regard physical appeal as an important part of eros. "Platonic love" in the original sense can be achieved by purifying the intellectual erosion of the world into an ideal form. This process is examined in the Plato dialog, Symposium . Plato argues there that eros is initially felt for a person, but by contemplation, it can be an appreciation for the beauty in that person, or even the award for beauty itself in the ideal sense. As Plato explains, eros can help the soul to "remember" beauty in its pure form. It follows from this, for Plato, that eros can contribute to an understanding of the truth.
Eros, understood in this sense, is quite different from the general meaning of the Greek word in Plato's time. It also differs from the meaning of words in contemporary literature and poetry. For Plato, eros is neither purely human nor purely divine: it is something intermediate which he calls a daimon.
Its main characteristics are aspiration and permanent desire. Even when it seems to give, eros continues to be "the desire to have," but however it is different from the purely sensual love of being a love that tends toward the noble. According to Plato, the gods do not love, because they have no desire, because their desires are all satisfied. They can only be objects, not the subject of love ( Symposium 200-1). For this reason they have no direct relationship with humans; it is merely the mediation of eros that allows the relationship ( Symposium 203). Eros is thus the way that leads man to the divinity, but not the other way around.
[...] However, eros remains always, for Plato, egocentric love: tends to conquer and possess objects that represent value to humans. To love the good signifies the desire to have it forever. Love, therefore, is always a desire for immortality.
Paradoxically, for Plato, the object of eros does not have to be physically beautiful. This is because the object of eros is beauty, and the greatest beauty is eternal, whereas physical beauty is utterly impermanent. However, if the beloved attains the possession of the beloved beauty inner (ie, ideal), his need for happiness will be fulfilled, because happiness is the experience of knowing that you are participating in the ideal.
Sigmund Freud
In Freudian psychology, eros, not to be confused with libido, not only the sex drive, but the power of our life, the desire to live. The desire to create life, and support productivity and construction. In early psychoanalytic writing, the instinct of eros is opposed by the power of the ego. But in later psychoanalytic theory, eros is opposed by the destructive instinct of Thanatos's death (the instinct of death or the death of the drive).
In the 1925 paper "The Resistances to Psycho-Analysis", Freud explained that the concept of psychoanalytic sexual energy is more in line with the Platonic view of eros, as expressed in the Symposium, compared to the use of the word "sex" in general. mainly related to genital activity. He also mentions the Schopenhauer philosopher as an influence. He then went on to face his enemies for ignoring such great precursors and defiled his whole theory of eros with a pansexual tendency. He finally wrote that his theory naturally explains this collective misunderstanding as a predictable resistance to the recognition of childhood sexual activity.
However, F. M. Cornford finds the viewpoint of Plato and Freud "contradictory" with eros. At Plato, eros is the spiritual energy at first, which then "falls" downward; whereas in Freud eros is the physical energy that is "sublimated" upward.
The philosopher and sociologist Herbert Marcuse adapted the Freudian concept of eros to the most influential work of 1955 Eros and Civilization .
Carl Jung
In analytical psychology Carl Jung, partner for eros is the logo , the Greek term for the principle of rationality. Jung considers the logo to be a masculine principle, while eros is a feminine principle. According to Jung:
Female psychology is based on the principle of Eros, a great and looser binder, while from ancient times the principle of power given to man is Logos . The Eros concept can be expressed in modern terms as a psychic linkage, and that Logos is an objective interest.
Gender eros and this logo is a consequence of Jung's theory of the syzygy's/syusgy animates of the human soul. Syzygy refers to the split between men and women. According to Jung, this split is recapitulated in the subconscious mind by using the "contrasexual" (opposite-gender) element called anima (in men) and animus (in women). Thus man has an unconscious feminine principle, "anima", which is characterized by feminine eros. Individual work for men involves becoming aware of the anima and learning to accept it as his own, requiring the acceptance of eros. It is necessary to look beyond the projection that initially blinds the conscious ego. "Taking back projections" is a major task in the work of individuation, which involves the possession and subconscious of subconscious forces that were originally regarded as aliens.
In essence, the concept of ero Jung is no different from the Platonic concept. Eros is ultimately the desire for wholeness, and although it may initially take the form of passionate love, it is more truly a desire for "inner connection", the desire for interconnection and interaction with other living beings. However, Jung is inconsistent, and he sometimes uses the word "eros" as an acronym for sexuality.
See also
References and notes
Source of the article : Wikipedia
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