Journal articles on the topic 'Argonauts (Greek mythology) Poetry'
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1
Metreveli, Lili. "Reception of Medea’s Image in Grigol Robakidze’s Novel „Megi the Georgian Girl“." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 22, 2018): 4536–39. http://dx.doi.org/10.18535/ijsshi/v5i3.09.
Abstract:
Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing.
In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.
2
Psimopoulos, Angelos Per. "The Argonautic Expedition: The First Worldwide Naval Epic." International Journal of Literature Studies 1, no. 1 (December 29, 2021): 95–109. http://dx.doi.org/10.32996/ijts.2021.1.1.13.
Abstract:
The Greek mythology is widely acclaimed as one of the richest treasures of universal epics; the myth of the Argonautic Expedition is one of the most interesting Greek myths. Some scientific authorities hold the opinion that the story of the Argonauts was no more than an inspiring fairy-tale, while others insist, it was a real historical event. They believe that it took place in 1225 BC, and Colchis was a country located in the Caucasus Mountains, near today’s country of Georgia. After a life-long study of more than thirty years using ancient texts and information coming from nautical maps and geography, oceanography and other fields of science, we propose that the real events were quite different from the currently proposed location. The Argonauts, and ancient Greeks at large, wanted to find a sea route to transport silk textiles and new species from the Far East countries to Greece or at least to open the Overland Route leading from the Black Sea to the Far East. In addition, they wanted to transport to Greece silkworm eggs to cultivate silkworms in Greece and produce silk. They started their journey from Iolcus and travelled around the Globe; they reached Colchis, Aeëtes' land that was actually China. They took from China eggs of the wild Silkworm instead of the real one and, sailing through the Indian Ocean, reached Suez, where they were forced to pull their ship across the land to reach Tritonis Lake. From there, they exited into the Mediterranean and arrived at Iolcus, the city from which they started their journey. That journey was made by the Argonauts around 1510 BC. Presently, giving a plethora of bibliographic references, we shall carefully attempt to expose the real events that happened during those ancient times under the mission code name "transporting the Golden Fleece to Greece". We shall say, who did this perilous feat, when and where it happened, what was the real purpose of the Argonauts’ journey, which were the correct routes followed carefully by the Argonauts, what were the countries they crossed or visited and finally what the Argonauts accomplished with that journey.
3
Su, Yujie. "Greek Mythology in 18th-to-19th English Romantic Poetry." OALib 03, no. 08 (2016): 1–5. http://dx.doi.org/10.4236/oalib.1102773.
4
Budelli, Rosanna. "Shamanic Reminiscences and Archaic Myths in the Story of the Goldsmith Ḥasan al-Baṣrī (Alf layla wa-layla)." Eurasian Studies 17, no. 1 (November 14, 2019): 123–57. http://dx.doi.org/10.1163/24685623-12340067.
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Abstract The story of the goldsmith Ḥasan al-Baṣrī in the Arabian Nights preserves numerous traces of more ancient stories and testimonies of cultures apparently distant geographically and historically. In particular, it is possible to identify various elements that refer to the symbols and customs of shamanism, although transformed and rewritten according to the Arab-Islamic culture. The same phenomenon is found with the fragments of Greek mythology scattered throughout the story and especially with the adventures of the Argonauts whose affinities with the story of Ḥasan are rather amazing. The study has been conducted by comparing three BNF manuscripts that present significant differences in some points, reflecting the evolution of the Arabic text and the different mentality of the copyists who have reworked some passages. The changes concern above all the role of female protagonists particularly numerous throughout the tale.
5
Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.
Abstract:
The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.
6
Mishchenko, Anna N. "Features of Precedent Units Functioning in Russian Media Discourse (on the Example of «Argonauts», «Golden Fleece», «Jason»)." Proceedings of Southern Federal University. Philology 2020, no. 4 (December 25, 2020): 107–14. http://dx.doi.org/10.18522/1995-0640-2020-4-107-114.
Abstract:
The article is devoted to the study of precedent units with the source «ancient Greek mythology», which have the potential to broadcast the linguistic and cultural features of a particular community, the recognition of which influences the success of intercultural communication. The work provides a comprehensive analysis of the precedent units included in the cycle «The History of the Golden Fleece», namely «Argonauts», «Golden Fleece», «Jason» in the texts of Russian-language media. In the article the author argues that the change in the semantics of constructions occurs not only at the denotative, but also at the connotative, pragmatic level, where the studied precedent units acquire new semantic features. The analysis of the functioning features of the precedent units included in the «History of the Golden Fleece» cycle allows us to establish the linguistic mechanisms of their «deployment» in the media discourse and come to the conclusion about the specifics of the fragment of the worldview, fixed in mythologized precedent phenomena.
7
Milin, Melita. "Ancient Greek mythology mediated by Latin culture: On Vlastimir Trajkovic’s arion and Zephyrus returns." Muzikologija, no. 12 (2012): 165–82. http://dx.doi.org/10.2298/muz120130008m.
Abstract:
Vlastimir Trajkovic (b. 1947) is a prominent Serbian composer with a strong inclination towards subjects from ancient Greek mythology. Among his most important achievements may be counted Arion - le nuove musiche per chitarra ed archi (1979) and Zephyrus returns for flute, viola and piano (2003). Two important aspects of those works are discussed in the present article: 1. the line that connects them to ancient Greek culture via French Modernism (Debussy, Ravel, Messiaen) and Renaissance poetry and music (Petrarch, Caccini, Monteverdi); 2. modality, which has proved its vitality through long periods of the history of European music, beginning with ancient Greek modes, reaching its high point in the 16th century, and re-emerging at the beginning of the 20th century in different hybrid forms. Trajkovic is seen as a composer who has shaped his creative identity by exploring the rich musical heritage of the Latin European nations, especially the contributions of Debussy and Ravel.
8
Makhortova, Varvara. "Classical Antiquity in the Poetry of Sophia de Mello Breiner Andresen." Stephanos Peer reviewed multilanguage scientific journal 44, no. 6 (December 30, 2020): 96–102. http://dx.doi.org/10.24249/2309-9917-2020-44-6-96-102.
Abstract:
The article analyses the influence of Ancient Greek philosophy and mythology, noticeable in the poetry of Sophia de Mello Breyner Andresen. The results of the analysis show that Sophia de Mello’s poetry, seemingly non-philosophic, is based on the ideas close to the theories proposed by ancient philosophers from Pre-Socratics philosophers to Socrates, Plato and Aristotle. The ideas of the unity between the human being and the Universe, as well as Plato’s theory of the Truth, the Good and the Beauty gain the special importance for the Portuguese writer. The ancient myths are reinterpreted by Sophia de Mello. The Ancient Greece is represented as the symbol of harmony between the human being and the Nature.
9
Riaz, Sana, Ayaz Ahmad Aryan, and Marina Khan. "Analyzing Hellenistic Elements in Keatsâs Poetry- with Special Reference to His Tales in Verse." Global Social Sciences Review VII, no. I (March 30, 2022): 455–62. http://dx.doi.org/10.31703/gssr.2022(vii-i).42.
Abstract:
This study incorporates elements of myths and feministic beauty in inter-contextual structure in John Keats' poetry. This research is majorly concerned with the use of ancient Greek mythology and the elements of feminine beauty in Keats' mythological poetry. The study investigates Keats's search for truthfulness and beauty, his identification of love for poetry and his creation of his poetic genius with special reference to feminine beauty in his poetic works. The research is descriptive and qualitative in nature the framework is established by reviewing related poems and previous literature. Thus the data is generated from two main sources, the primary source which includes the selected poetry of John Keats and the secondary source which includes reviews of previous literary work. The Textual Analysis Method of Research is followed as the theoretical framework of Hellenism that comprehends a certificate for the conclusion of research problems.
10
Tomoiagă, Ligia. "The Concentration and Sublimation of Time as Memory in Louise Glück's Poetry." Papers in Arts and Humanities 2, no. 1 (June 8, 2022): 26–39. http://dx.doi.org/10.52885/pah.v2i1.92.
Abstract:
The preoccupation with the mythical time of the world, of humanity, and of each individual's life comes as one of the most powerful poetic tools in Louise Glück's poems. From evoking the foundational times of the Garden of Eden, or the "immutable" hard nut represented by Greek mythology, the poet concentrates whatever may suggest an evolution in time in those initial 'moments'. Her reading of the history of human soul seems to suggest that everything stopped with the first page, or the first words. This study will come with many suggestions of poems that support this vision on Glück's use of memory or anamnesis (ἀνάμνησις) as the only path to understanding humanity.
11
Săran, Raul. "Ipostaze Thanatice În Poetica Lui Lucian Blaga Și Dylan Thomas." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 88–94. http://dx.doi.org/10.2478/clb-2019-0009.
Abstract:
AbstractThe following paper revolves around the concept of thanatos, whose name comes from the personification of death in the Greek mythology. In other words, the objective of this paper is to analyze the main forms and symbols regarding the theme of death in several poems of Lucian Blaga and Dylan Thomas and try to explain how, despite the fact that they come from different cultural environments and have different sources of inspiration and literary purposes regarding the aim of their works, their poetical works present several resemblances in terms of meaning in relation to the theme of death, as approached in the 20th century modern poetry.
12
Maksimov, Vladimir I. "Old-Russian Stribog and his Ancient Greek Brother Astray." Russkaia Rech, no. 1 (February 2021): 57–63. http://dx.doi.org/10.31857/s013161170013904-3.
Abstract:
The essay analyses the name of a pagan God of the Ancient Rus Stribog, who was mentioned in “The Russian Primary Chronicle” and “The Tale of the Igor’s Campaign” and its connection with the ancient Greek mythology. The article suggests that an old-Russian god Stribog is similar to the ancient Greek god Astray, the father of the famous gods of winds, Boreas — the god of cold northern wind, Zephyr — the god of warm western wind, Anemoi — the god of hot southern wind and Eurus — the god of unstable eastern or south-eastern wind, who are often associated with the winds they symbolize in Russian poetry. The similarity of Stribog and Astray lays not only in their origins, but in the common root str-. The article concludes that because god Astray is not only the farther of the gods of the winds, but also the father of Venus and other stars, it is arguable that Stribog is both the grandfather of the winds and the Slavic god of the night sky.
13
Rodrigues, Nuno S. "Recensão a: BREITENBERGER, Barbara - Aphrodite and Eros. The Devehpment of Erotic Mythology in Early Greek Poetry and Cult." Humanitas 60 (2008): 306–7. http://dx.doi.org/10.14195/2183-1718_60_20.
14
Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.
Abstract:
The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
15
Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, no. 1 (January 1, 1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.
Abstract:
Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.
16
Vasilakis, Dimitrios A. "Love as Descent: Comparing the Models of Proclus and Dionysius through Eriugena." Religions 12, no. 9 (September 5, 2021): 726. http://dx.doi.org/10.3390/rel12090726.
Abstract:
This paper explores the models of the providential-erotic descent in Neoplatonism and Christianity and the ethical consequences that these two models entail. Neoplatonic representative is an excerpt from Proclus’ Commentary on the First Alcibiades, where a parallel with ancient Greek mythology is drawn: Socrates’ providential love for Alcibiades is compared to Hercules’ descent to Hades in order to save Theseus. This image recalls not only the return of the illumined philosopher back to the Cave (from Plato’s Republic) but also the Byzantine hagiographical depiction of Jesus Christ’s Resurrection qua Descent to Hades. The end of Dionysius’ 8th Epistle (the Christian counterpart to Proclus) recalls this Byzantine icon and forms a narration framed as a vision that a pious man had. There are crucial features differentiating Proclus from Dionysius, and Eriugena’s poetry (paschal in tone) helps in order to understand their ontological background and the eschatology they imply, as well as explain why Christ’s “philanthropy” (love for mankind) is more radical than that of Proclus’ Socrates.
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Maystrenko, Lyudmyla. "THE EXPRESSION OF DESTRUCTIVE LOVE IN OVID’S HEROIDS WITH EMOTIONAL MEANS." Fìlologìčnì traktati 12, no. 1 (2020): 82–89. http://dx.doi.org/10.21272/ftrk.2020.12(1)-8.
Abstract:
The search of scientists of the XXI century is increasingly focused on a sphere that is not available for direct observation – the sphere of emotions. Therefore, the issue of the emotive component of a literary text at different levels relates to priority areas not only of modern linguistics. Emotions represent the linguistic picture of the artistic universe of the poet, reveal the inner world of his characters. The existential-sensual sphere is a manifestation of the subjective attitude of a person to the surrounding reality and himself in the mental space of the artist. Ovid subtly reproduces the spiritual world of a loving woman in the inexhaustible wealth of emotional manifestations and unique individual identities. The main object of unfortunate love in Heroides is a married woman or hetaera. Ovid is a vivid representative of the sensually-earthly Eros. The ancient man, for whom the idea of sin was extraneous, was not embarrassed by the sensual nature of his love in various forms, focusing all his interest in earthly existence, adored desires. However, the sensual Eros of Heroides with not the happy ending is aesthetically beautiful. Having refused from the usual August poetry themes related to the historical past of Rome or the events of his personal life, Ovid in Heroids turns exclusively to mythological themes, popular in Neo-Téric poetry or Hellenistic poetry, depicting the heroines of Greek mythology and Sappho herself by the psychology of contemporary Roman women. Ovid's Heroides reflects the fact that the psychology of a loving woman has not changed much since the time of the Roman Empire.
18
Obed, Rana Jabir. "A Poetic Re-Telling of the Orphic Myth: A Political Study of Denise Levertov’s “A Tree Telling of Orpheus”." Journal of Social Sciences Research, SPI 1 (November 15, 2018): 331–35. http://dx.doi.org/10.32861/jssr.spi1.331.335.
Abstract:
Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.
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Fürst, Isidora. "Themis and Dike – Justice in Greek Myth and Tradition." Vesnik pravne istorije 2, no. 1 (December 18, 2021): 9–39. http://dx.doi.org/10.51204/hlh_21101a.
Abstract:
The understanding of law in Ancient Greece was based on the religious interpretations of human nature and natural laws. Two Greek goddesses were representatives of justice and fairness. In the ancient sources Themis is presented as a goddess and prophetess, one of the Titans and the daughter of Gea and Uranus. She is a symbol of divine order, justice, natural law and good customs. Dike, the daughter of Themis, is the goddess of justice and truth, the protector of rights and courts of justice, the arbiter, the symbol of honor, the goddess of revenge and punishment. In early Greek culture and poetry, the terms themis and dike represented justice in the meaning of cosmic order, natural law, and legality. The paper analyses the Hellenic notions of justice, fairness and legality embodied in the phenomena of themis and dike. Nomos (law) is just only if it is in harmony with themis, and law is valid only if it is just. The paper presents the doctrines of Hellenic writers, poets and playwrights on justice and law, with special reference to the influence of mythology on Hellenic law. Publius Ovidius Naso’s work „Metamorphosis”, which speaks about Themis’ role in the creation of the world and the salvation of the human race is one of the greatest sources about this goddess. In Homer’s „Iliad” and „Odyssey”, epics that sing of the heroic spirit, justice is shown in the motives, intentions and behavior of the participants in the event, mostly heroes. The poet Hesiod, famous for the poems „Theogony” and „Works and Days”, moves away from the heroic virtues of people and portrays the gods as bearers of moral power and guardians of justice. In the light of legislative reforms, Solon’s dike represents the progress and well-being of society through economic reforms, which is why justice and injustice refer only to legal and illegal acquisition of wealth and its effect on the community. Aeschylus’ „Oresteia” shows the principle of justice based on talion, according to which the punishment has to be identical with the committed crime. One of the greatest Ancient Greek playwrights, Sophocles, based his play „Antigone” on the conflict between the laws of men and the laws of gods. According to Herodotus, the greatest Ancient Greek historian, the actions of the gods govern human destinies and historical events. The idea of justice in Ancient Greece was all throughout its transformation based of the universial concept of natural balance.
20
Hamad, Mohammad. "Symbolism of Water in Classic and Modern Arabic Literature." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 258–65. http://dx.doi.org/10.36892/ijlls.v2i4.367.
Abstract:
Water in Arabic literature has literal and symbolic meanings. Water is one of the four elements in Greek mythology; life would be impossible without water and it is a synonym for life; life originated in water. Springs, wells, rain, seas, snow, and swamps are all associated with water. Each form of water may take on a different manifestation of the original from which it comes about. Arabic literature employs the element of water in poetry, the short story, and the novel. We find it in titles of poems: Unshudat al-matar (Hymn of the Rain) and Waj’ al-ma’ (The Pain of Water); and novels: Dhakirat al-ma’ (The Memory of Water); Taht al-matar (Under the Rain); Matar huzayran (June Rain); Al-Bahr khalf al-sata’ir (The Seas Behind the Curtains); Rahil al-bahr (Departure of the Sea); and many others. This study aims to answer the following questions: How does the element of water manifest in Arabic literature? What are the semantics and symbolism of the different forms of water in the literary imaginary? The study refers to six different significations for water in classical and modern Arabic literature: water as synonymous with life, purity and the revelation of truth, separation and death, fertility and sex, land and homeland, and talent and creativity.
21
Chystiak, Dmytro. "Betraying the Myth: Comparative Analysis of Russian and Ukrainian Translations of the Plays by Maurice Maeterlinck." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 197–205. http://dx.doi.org/10.31861/pytlit2021.103.197.
Abstract:
The history of Ukrainian and Russian translations of the playwright by Maurice Maeterlinck is full of well-known names like Lesya Ukrainka, Natalia Kobrynska, Valeriy Briussov and Nikolay Minskiy. Nevertheless some aspects of translations show several problems in misunderstanding of the realities of the French text. Our purpose was to make the comparative analysis of the Russian and Ukrainian translations of Ariane et Barbe-Bleue, a key text of the Maeterlinck’s theatre. The linguo-poetic and linguo-aesthetic analysis were used. The study have shown that the Slavonic translators have omitted the onomastic sign Ariadne revealed in the letters of the author to his German translator Friedrich von Oppeln-Bronikowski where the mythic sign is clearly presented in order to make a transvalorization of the mythological intertext. The original results of our study was used for our new translation of the play Ariane et Barbe-Bleue for the Ukrainian readers published in 2007 then our analysis was developed in the doctorate thesis dedicated to the mythological intertext in the first theatre by Maurice Maeterlinck and in the chapter of our thesis of doctor of science devoted to the study of Greek mythology in the poetry of the Belgian Nobel Prize winner.
22
Koncewicz, Marcelina. "Władza pod piórem… Zmiany w przedstawianiu postaci Napoleona w polskiej poezji z okresu Księstwa Warszawskiego." Dyskretny urok władzy. Idealiści, kolaboranci, oportuniści 19, no. 2 (October 28, 2022): 310–26. http://dx.doi.org/10.4467/23531991kk.22.023.16257.
Abstract:
Artykuł podejmuje temat kreowania postaci Napoleona w polskiej poezji z okresu Księstwa Warszawskiego. Przedstawia, jak zmieniało się postrzeganie jego władzy w zależności od sytuacji politycznej. Ukazuje wpływ kultury i religii na kreowanie postaci władcy. Poeci tacy jak Wincenty Turski, Franciszek Wężyk i Józef Skorkowski skupiają się na zasługach wojskowych Napoleona. Posługują się metaforami i innymi środkami stylistycznymi związanymi ze sferą mitologii sakralnej oraz greckiej i rzymskiej. Julian Ursyn Niemcewicz i Kajetan Koźmian w swoich wierszach opisują obrazy śmierci i klęski maszerujących niszczycielskich oddziałów. W pracy omówiono przykłady utworów odnoszących się do wydarzeń historycznych takich jak zawarcie pokoju w Tylży czy klęska kampanii moskiewskiej. Pokazano, jak zmieniały się nastroje społeczne i stosunek do władzy. Artykuł skupia się przede wszystkim na analizie języka poetyckiego i powiązań z różnymi dziedzinami kultury. Porównuje portret władcy odnoszącego sukcesy z obrazem tego, który ponosi porażkę. Writing Power… Changes in the Presentation of Napoleon in Polish Poetry from the Period of the Duchy of Warsaw The aim of the article is to present the creation process of Napoleon’s figure in Polish poetry from the period of the Duchy of Warsaw. It presents how the perception of his power changed depending on the political situation. The article also points out the influence of culture and religion on creating the figure of a ruler. Examples of poetry relating to historical events such as the treaties of Tilsit or the defeat during the Moscow campaign show how the social mood and attitude to power have changed. The analysis of the poetic language and connections with various areas of culture were crucial for creating the figure of Napoleon as a ruler. Poets like Wincenty Turski, Franciszek Wężyk and Józef Skorkowski focus on the military merit of Napoleon. They use metaphors and other stylistic devices related to the sphere of the sacred and to the Greek and Roman mythology. Julian Ursyn Niemcewicz and Kajetan Koźmian in their poems describe images of death and defeat of marching devastated troops. All in all, in Polish poetry from the period of the Duchy of Warsaw we can compare the portrait of a successful ruler with that of a failing one.
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Budin, Stephanie Lynn. "Erotic Mythology - (B.) Breitenberger Aphrodite and Eros. The Development of Erotic Mythology in Early Greek Poetry and Cult. Pp. x + 296, ills. New York and Abingdon: Routledge, 2007. Cased, £65, US$100. ISBN: 978-0-415-96823-2." Classical Review 59, no. 2 (September 15, 2009): 338–40. http://dx.doi.org/10.1017/s0009840x09000067.
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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (October 25, 2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.
Abstract:
This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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YOSE, JOSEPH, RALPH KENNA, PÁDRAIG MacCARRON, THIERRY PLATINI, and JUSTIN TONRA. "A NETWORKS-SCIENCE INVESTIGATION INTO THE EPIC POEMS OF OSSIAN." Advances in Complex Systems 19, no. 04n05 (June 2016): 1650008. http://dx.doi.org/10.1142/s0219525916500089.
Abstract:
In 1760 James Macpherson published the first volume of a series of epic poems which he claimed to have translated into English from ancient Scottish-Gaelic sources. The poems, which purported to have been composed by a third-century bard named Ossian, quickly achieved wide international acclaim. They invited comparisons with major works of the epic tradition, including Homer’s Iliad and Odyssey, and effected a profound influence on the emergent Romantic period in literature and the arts. However, the work also provoked one of the most famous literary controversies of all time, coloring the reception of the poetry to this day. The authenticity of the poems was questioned by some scholars, while others protested that they misappropriated material from Irish mythological sources. Recent years have seen a growing critical interest in Ossian, initiated by revisionist and counter-revisionist scholarship and by the two-hundred-and-fiftieth anniversary of the first collected edition of the poems in 1765. Here, we investigate Ossian from a networks-science point of view. We compare the connectivity structures underlying the societies described in the Ossianic narratives with those of ancient Greek and Irish sources. Despite attempts, from the outset, to position Ossian alongside the Homeric epics and to distance it from Irish sources, our results indicate significant network-structural differences between Macpherson’s text and those of Homer. They also show a strong similarity between Ossianic networks and those of the narratives known as Acallam na Senórach (Colloquy of the Ancients) from the Fenian Cycle of Irish mythology.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
Abstract:
Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
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Kearns, Emily. "PINDAR AND EURIPIDES ON SEX WITH APOLLO." Classical Quarterly 63, no. 1 (April 24, 2013): 57–67. http://dx.doi.org/10.1017/s0009838812000699.
Abstract:
Among the most characteristic motifs in Greek mythology is the sexual union of a god with a mortal woman and the resultant birth of a hero. The existence of hexameter poetry listing the women thus favoured – the famous women in the underworld in the eleventh book of the Odyssey, and above all theEoiai– is evidence of an interest in the women involved, not only in their heroic sons, and suggests that already at an early date the theme was the object not merely of passive reception but of an active consciousness. TheEoiai, indeed, saw such unions as an integral part of an earlier and better age, when mortals and immortals were closer:ξυναὶ γὰρ τότε δαῖτες ἔσαν, ξυνοὶ δὲ θόωκοιἀθανάτων τε θεῶν καταθνητοῖς τ' ἀνθρώπων(fr. 1 Μ–W)But it was not to be supposed that such a potentially rich theme would receive a unitary treatment. Already in their first appearances – at least, the first appearances for us – many individual stories are clearly distinguished by their different circumstances. A common variable is the existence, the kind and the degree of difficulty experienced by the woman as a result of the encounter. Polymele, for instance, mother of Eudorus by Hermes atIliad16.179–92, has seemingly no difficulty in leaving her child to be brought up by her father while she goes on to marry a mortal husband. But suffering of some sort is perhaps more usual, and famous sufferers include Cassandra, punished for spurning Apollo's advances; Danae, first imprisoned by her father in a brazen tower to prevent her pregnancy, and then locked in a chest with her baby and set afloat on the waves; and Semele, destroyed when her lover Zeus appeared to her in his true form. Such different experiences could suggest further multiple versions of the same general theme, diverging especially in the consequences of the union (or attempted union) for the mortal partner. Even the same characters could potentially undergo quite different variants of the story; the chief constant is the unfailing popularity of the mythical motif.
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Mitevski, Vitomir. "The Influence of Ancient Greek Culture on Macedonian Literature of the 19th Century." Colloquia Humanistica, no. 1 (July 22, 2015): 19–31. http://dx.doi.org/10.11649/ch.2012.002.
Abstract:
The Influence of Ancient Greek Culture on Macedonian Literature of the 19th CenturyIn Macedonia under the Ottoman rule during the nineteenth century, the Macedonian people-the nation is subject to political pressure and the cultural influence of Turkey and other countries. Under the influence of propaganda leading by Athens and education politics in the area of contemporary Republic of Macedonia, some Macedonian militant intellectuals embraced, at the same time, were influenced by romanticism and the Old-Greek culture, which strongly affect their literary works. In this context, two authors are viewed as the most significant-Jordan Hadji Murad Konstantinov Džinot and Grigor Prlichev. Džinot is the author of dramatized dialogue inspired by the classic Greek mythology, at the school, where he is a teacher. On the pages of the press he announces the publication of its ancient-themed dramas, however, for unknown reasons, none of them does not appear in print. Prlichev well knew the Old-Greek and is an admirer of the works of Homer. Influenced by the poetry of Homer writes in an epic poem in the archaized Greek. Wpływ starogreckiej kultury na literaturę macedońską w XIX wiekuW ramach imperium osmańskiego, którego częścią jest Macedonia w ciągu XIX wieku, macedoński lud-naród podlega politycznej presji i wpływom kulturowym ze strony Turcji i innych państw. Pod wpływem propagandy, którą prowadzą Ateny i która wyraża się m.in. w zakładaniu swoich szkół w Macedonii, niektórzy macedońscy intelektualiści, ogarnięci w tym samym czasie wpływami romantyzmu poznają kulturę starogrecką, co silnie wpłynie na ich twórczość literacką. W tym kontekście wybijają się dwie najbardziej znaczące postaci – Jordan Hadži Konstantinov-Džinot i Grigor Prličev. Džinot jest autorem dramatyzowanych dialogów inspirowanych klasyczną, starogrecką mitologią, wystawianych w szkole, w której sam jest nauczycielem. Na łamach prasy zapowiada publikację swoich dramatów o tematyce antycznej, jednak z niewiadomych przyczyn żaden z nich nie pojawia się w druku. Prličev dobrze zna starogrecki i jest znawcą twórczości Homera. Pod wpływem poezji Homera pisze w archaizowanym języku greckim poemat epicki zatytułowany ‛Ο 'Aρματωλός (w macedońskim przekładzie Сердарот albo Мартолозот), który przynosi mu zwycięstwo w konkursie poetyckim w Atenach w 1860 roku. Jego drugie dzieło epickie zatytułowane Σκενδέρμπεης jest napisane także w duchu poezji Homera, głównie jeśli chodzi o styl (epitety i porównania) i kompozycję (opracowanie typowych dla eposu motywów tematycznych). Obydwaj są także tłumaczami, Džinot zapowiada w prasie przekład Antygony Sofoklesa, o losach przekładu nic nam nie wiadomo, a Prličev dokonuje poetyckiego przekładu Iliady Homera na wymyślony przez siebie język, który jest w istocie mieszanką języków słowiańskich, a sam autor nazywa go "ogólnosłowiańskim". Влијанието на старогрчката култура врз македонската литература во XIX–иот векВо рамките на Турската Империја од која Македонија е дел во текот на 19-иот, македонскиот народ е изложен на политичка пресија и културното влијание и на Турција и на некои соседни држави. Под влијание на пропагандата на владата во Атина која отвора свои школи во Македонија, а во исто време и зафатени од бранот на романтизам, некои македонски интелектуалци се запознаваат со старогрчката култура што ќе остави силен печат врз нивното литературно творештво. Во тој поглед се издвојуваат две најзначајни имиња – Јордан Хаџи Константинов Џинот и Григор Прличев.Џинот се јавува со драмски дијалози инспирирани од класичната старогрчка митологија кои се изведуваат на приредбите во школите во кои тој е учител, а во печатот најавува објавување на свои драми со античка тематика кои, од непознати причини, не се појавиле.Прличев е добро образован во старогрчкиот јазик и особено добар познавач на Хомер. Под влијание на хомерската поезија, тој пишува на еден архаизиран грчки јазик епска поема под наслов ‛Ο ’Aρματωλός (во македонски превод Серадот или Мартолозот) и со неа победува на поетскиот конкурс во Атина 1860 година.Второто негово епско дело под наслов Σκενδέρμπεης исто така е напишано во духот на хомерската поезија и тоа се гледа главно во областа на стилот (епитети и споредби) и во композицијата (обработка на типични епски теми). На преведувачки план, Џинот најавува во печатот превод на трагедијата Антигона од Софокле, дело чија судбина исто така не ни е позната, а Прличев пишува препев на Хомеровата Илијада на еден посебен јазик кој претставува смеса од словенските јазици, а самиот автор го нарекува „општословенски“.
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Shapoval, Oksana. "Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 52–76. http://dx.doi.org/10.34064/khnum2-16.03.
Abstract:
Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.
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Պետրոսյան, Արմեն. "Արգոնավորդներ. հնդեվրոպական առասպելը՝ որպես հայոց նախապատմության աղբյուր." Herald of Social Sciences, January 27, 2023, 307–22. http://dx.doi.org/10.53548/0320-8117-2022.3-307.
Abstract:
Այս առասպելում Այետես արքայի և նրա դուստր Մեդեայի կերպարները և անունները համեմատելի են հնդկական Յայատիի և նրա դուստր Մադհավիի և իռլանդական Էոխայդի և նրա դուստր Մեդբի առասպելների հետ, որոնք հնդեվրոպական համատեքստում մանրամասն ուսումնասիրել է Ժորժ Դյումեզիլը։ Այան՝ այն երկիրը, որտեղ նավարկում են արգոնավորդները, ակնհայտորեն առասպելական՝ կախարդական մի թագավորություն է, երանելի անդրաշխարհ, որը միայն հետագայում է նույնացվել Կոլխիդայի հետ: Հնագույն Կոլխիդան գտնվում էր հետագա Կոլխիդայի հարավ-արևմուտքում, այն տարածքներում, որտեղ մ.թ.ա. XIV-XIII դդ. եղել է խեթական աղբյուրների Հայասայի թագավորությունը։ Այսինքն՝ առասպելական Այան նույնացվել է պատմական Հայասայի հետ։ В этом мифе образы царя Ээта и его дочери Медеи сопоставимы с об-разами Яяти и его дочери Мадхави индийской и Эохаида и его дочери Медб ирландской мифологии, подробно изученной в индоевропейском контексте Жоржем Дюмезилем. Айа – страна, куда плывут аргонавты, очевидно, мифологическое волшебное царство, блаженный потусторонний мир, позже отождествляемый с Колхидой. Древнейшая Колхида располагалась на юго-западе позднейшей Колхиды, на территориях, где в XIV-XIII вв. до н.э. находилось царство Хайаса хеттских источников. Это дает основание считать, что мифическая Айа отождествлялась с исторической Хайасой. In the Greek myth on Argonauts the images of King Aeetes and his daughter Medea are comparable with the images of Yayati and his daughter Madhavi of Indian and Eochaid and his daughter Medb of Irish mythologies, studied in details in the context of Indo-European mythology by Georges Dumézil. Aia, the country where the Argonauts sail, is obviously a mythological magical kingdom, a blissful otherworld, later identified with Colchis. Ancient Colchis was located in the south-west of the later Colchis, in the territories, where in the 14th-13th centuries BC the kingdom of Hayasa of Hittite sources was located. This gives reason to believe that the mythical Aya was identified with the historical Hayasa.
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Tsokanos, Dimitrios. "“To the glory that was Greece": Hellenic patterns in Poe's poetry." Littera Aperta. International Journal of Literary and Cultural Studies, December 30, 2015, 23–36. http://dx.doi.org/10.21071/ltap.v3i3.10831.
Abstract:
Edgar Allan Poe’s poetry has repeatedly drawn the attention of many literary critics since his poems have meticulously been delved into from different perspectives. Undeniably, a multitude of references that allude to ancient Greek mythology and classical literature are present within his verses. These have been noticed and delineated by noteworthy Poe scholars such as Scott Peeples, Kenneth Silverman, Daniel Hoffman and Kevin Hayes in several of their researches in the past. However, despite the wide range of studies that have been published, one cannot encounter any mention regarding the existence of Hellenic motifs or even a reference to an apparent Hellenism in Poe’s poetry. In an effort to outline what has already been affirmed with respect to this topic and to unearth additional links between Poe’s works and Greece, the present essay aims to determine the presence of Hellenic motifs in Poe’s “To Helen” and “Lenore”.
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Shaughnessy, Michael F. "A Reflective Conversation With Professor Louis Markos About Myths And The Humanities?" European Scientific Journal ESJ 16, no. 32 (November 30, 2020). http://dx.doi.org/10.19044/esj.2020.v16n32p1.
Abstract:
Louis Markos holds a BA in English and History from Colgate University and an MA and PhD in English from the University of Michigan. He is a Professor of English and Scholar in Residence at Houston Baptist University, where he holds the Robert H. Ray Chair in Humanities and teaches courses on British Romantic and Victorian Poetry and Prose, the Greek and Roman Classics, C. S. Lewis, and J. R. R. Tolkien. He is the author of twenty books, including The Myth Made Fact: Reading Greek and Roman Mythology through Christian Eyes, Ancient Voices: An Insider’s Look at Classical Greece, On the Shoulders of Hobbits: The Road to Virtue with Tolkien and Lewis, Apologetics for the Twenty First Century, From Achilles to Christ: Why Christians Should Read the Pagan Classics, Lewis Agonistes: How C. S. Lewis can Train us to Wrestle with the Modern and Postmodern World, Atheism on Trial, and The Dreaming Stone and In the Shadow of Troy, children’s novels in which his kids become part of Greek Mythology and the Iliad and Odyssey. He has produced two lecture series on C. S. Lewis and literary theory with The Teaching Company/Great Courses, published 300 book chapters, essays, and reviews, given well over 300 public lectures in some two dozen states as well as Rome, Oxford, and British Columbia, and had his adaptations of The Iphigenia in Tauris of Euripides, The Helen of Euripides, and The Electra of Sophocles performed off-Broadway. He is committed to the concept of the Professor as Public Educator and believes that knowledge must not be walled up in the Academy but must be disseminated to all who have ears to hear. Visit his amazon author page at amazon.com/author/louismarkos In this interview he responds to questions about his latest book!
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Skoryna, Lyudmyla. "INTERTEXTUAL FIELD PARAMETERS IN THE NOVEL "ANDRII LAHOVSKYI" BY AHATANHEL KRYMSKYI." LITERARY PROCESS: methodology, names, trends, no. 20 (2022). http://dx.doi.org/10.28925/2412-2475.2022.20.9.
Abstract:
The article outlines the intertextual field parameters in the novel "Andrii Lahovskyi" by Ahatanhel Krymskyi. In the process of research the active use of quotations and allusions by the writer was found out. Quotations are organically embedded in the speech of all characters, it is especially true of the main character (71 example found). The novel is dominated by quotations with partial attribution - indicating the author of the prototext (37 quotations) or the whole work (4 quotations). There are 6 quotations with full attribution, 4 quotations with “allusive” attribution and 10 quotations with unspecified attribution. Unattributed quotes are most taken from the reading-books. Ukrainian, Old Slavic, Russian, Ancient Greek, Latin, German, French, English, Italian, and Turkish languages appear in these intertextual inclusions. Allusions to works of Ukrainian and foreign authors, the Bible, myths, numerous historical and philosophical reminiscences (Ptolemy, Strabo, Xenophon, Plato, Max Stirner) are actively used in the novel. Other types and forms of intertextual relations in the novel include: 1) paratextuality (the title of the third part of the novel "Following St. Ephrem the Syrian" emphasizes the prototext, which played an important role in the spiritual evolution of the main character); 2) hyperintertextuality — paraphrases used to establish a dialogue with other literary works in terms of saving text space; 3) metatextuality (Lahovskyi's reflections on Ivan Franko's "Parable of Beauty", Volodymyr Shmidt's discourse of Heine's poetry "Der Asra"); 4) autointertextuality (citing the other poetic works of Ahatanhel Krymskyi in the novel). The novel also reveals examples of apocryphal intertextuality (a fictional "quote" from the biblical book of Jesus Sirach) and intermediality (references to the opera "Faust", "Siciliana" from "Cavalleria Rusticana", Rubinstein's music to Heine's "Der Asra", Ophelia's song, a Japanese song about a goldfish, Wagner’s operas). The list of key prototexts of the analysed novel includes: 1) the Bible; 2) ancient literature and mythology; 3) Ukrainian literature; 4) Russian literature; 5) German literature. Episodic references to English, French, Italian literature, Eastern poetry and folklore appear in the novel. Taking into account the variety of types and forms of intertextuality in the novel and the significant fleshing out of the intertextual field with textual inclusions from the works of Ukrainian and foreign writers, we can consider the novel "Andrii Lahovskyi" to be one of the first examples of an intellectual novel in Ukrainian literature.