Apresentação do livro "MARILYN — Ninfa e Dasein", de Bernardo Pinto de Almeida

The Nymph, whose primary function, as Warburg taught us, is to make visible the emblems of beauty, vitality, and erotic passion, was an inescapable figure of Antiquity, both in literature (mythological, philosophical, and poetic) and in the arts, surviving secretly incognito for centuries. She reappeared in the Renaissance, once again represented in arts and letters, associated with the rediscovery of Antiquity. Her reappearance in the 20th century would occur through cinema, as it was cinema that allowed her to be rethought and, above all, seen again, in the form of the movement-image. The Nymph fulfilled, in the 20th century, what had been a design of Antiquity, later rediscovered by the Renaissance and now updated: what Botticelli suggested was thus amplified by Hollywood. If I am correct, we must seek to understand how this figuration reappeared in our contemporary context, at least from Modernity to the present day, in order to trace its archaeology. The purpose of this essay is to understand, in the luminous and enigmatic figure of Marilyn, an example of the Nymph's Nachleben in the contemporary era — considering that Nachleben (survival, posthumous image) means not repetition, but reinscription into a new context.