Academic literature on the topic 'Eurydice (Greek mythological character)'
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Journal articles on the topic "Eurydice (Greek mythological character)"
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Altanova, A. "MYTHS IN THE POETIC WORLD OF LINA KOSTENKO: PROJECTIONS OF THE AESTHETIC IDEAL." Mìžnarodnij fìlologìčnij časopis 14, no. 1 (2023): 61–72. http://dx.doi.org/10.31548/philolog14(1).2023.07.
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The article analyzes the intertextual connections of Lina Kostenko's work (in particular, her novels "Marusya Churai" and "Notes of the Ukrainian samashedshego", as well as individual poems) with world myths - ancient, biblical and literary. Such intertextuality gives rise to an artistic world where the individual and the collective, the human and the divine, the everyday-practical and the unspeakable-unexplainable, the national-historical and the eternal, the material and the spiritual, the rational and the irrational, interact. Allusive echoes of the texts of the Ukrainian poetess with the ancient Greek myths "Orpheus and Eurydice", "Hyacinthe", myth about the androgyne, biblical myths about St. John the Forerunner, Lilith and Eve, literary myths of Dante, M. Kotsyubynskyi are analyzed. All these myths are based on moral and philosophical maxims: love, creativity, immortality, beauty, responsibility, memory, integrity, compatibility of souls, dignity, spirituality, and chivalry, which are signs of the author's aesthetic ideal. The myth enriches her poetry with cultural codes that are most fully and adequately revealed only in the light of universal, not socio-historical or class criteria. It is proven that in the novel "Marusya Churai" Lina Kostenko created an alternative vision of the image of the poet, an important point of which was the position of "artist and love". Imitating Dante's myth about the journey through hell, Lina Kostenko in the novel "Marusya Churai" presents her vision of hell during her main female character's journey through war-torn Ukraine and sets her own priorities in matters of "sinfulness" and punishment of her characters. The article also examines the philosophy of androgynism interpreted in the poetess's work as a spiritual union of lovers and the poetess's attitude to the gender concepts of "strong man" and "strong woman". The interpretation of Lina Kostenko's work in a mythological way will contribute to the awareness of her universal sound, which is not subject to temporal and political changes.
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Bula, Andrew. "Parallels and Distinctions in Wole Soyinka’s Season of Anomy and “Orpheus and Eurydice”." Journal of Critical Studies in Language and Literature 2, no. 5 (July 9, 2021): 1–5. http://dx.doi.org/10.46809/jcsll.v2i5.78.
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Criticism of Wole Soyinka’s Season of Anomy alongside the Greek mythological story of “Orpheus and Eurydice” has usually been an engagement in drawing parallels between both texts, or of uncovering symbols and allusions found within the novel that echoes the Greek myth. None, however, has explored at the same time the range of similarities and dissimilarities between both narratives; nor is there available a sustained attention devoted to the criticism of both. This study fills that critical vacuum. The question thus opened up is that there are convergences as well as divergences in the narratives; and although Season of Anomy is not without borrowings from the Greek mythology which constitutes the convergences and to some extent informs some of the divergences, the novel’s trajectory and imaginative framework transcend the classical story. Julia Kristeva’s notion of the figure of “double destinations” under her theory of intertextuality is brought into play in this study to make sense of the parities and disparities between both accounts.
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Puchner, Walter. "Ο Ορφέας στη νεοελληνική δραματουργία: Γεώργιος Σακελλάριος - Άγγελος Σικελιανός Γιώργος Σκούρτης." Σύγκριση 11 (January 31, 2017): 46. http://dx.doi.org/10.12681/comparison.10768.
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The paper gives a short comparison of three dramatic versions of the Orpheus-myth in Modern Greek drama. Among the mythological themes dramatized in Modern Greece the most frequent is Troia cycle, the Atrides, the Argonautic cycle, heroes like Prometheus, Heracles, Theseus, Zeus etc. Orpheus is quite rare. The first analysis concerns the Greek translation of «Orphée et Euridice», the second reformation opera of Christoph Willibald Gluck, concretely the French version of Pierre Louis Moline (1774 in Paris), which is edited in Greek in Vienna 1796, and highlights the context of this translation. The second is «The Dithyramb of the Rose» (written 1932, translated in French 1933 by Louis Roussel, 1939 in English), performed 1933 in Athens, as a sort of continuation of the Delphic festivals (1927 and 1930), The third is a satiric dramatic version «The process of Orpheus and Eurydice» (1973) where Orpheus is condemned by the rulers of the Underworld because he caused troubles by his invasion with music; the one-act play has to be seen in the context of the political processes at the time of the Junta regime and is very exact in reproducing mythological details.
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Bangasin, Alneza M. "The Fridging of Selected Female Characters in Greek Mythology." Journal of Women Empowerment and Studies, no. 26 (October 10, 2022): 8–18. http://dx.doi.org/10.55529/jwes.26.8.18.
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This study deals with the selected female characters from Greek Mythology. The selected female characters are analysed according to the trope Women in Refrigerator. Descriptive qualitative analysis has been employed in this study. The following female characters analysed in this study are Medea, Medusa, Arethusa, Andromeda, Danaë, Daphne, Eurydice, Antigone, Helen, and Cassandra. The aforementioned characters possess the trait of a fridged woman trope. These women have been, in one way, or another, killed, abused, and or depowered to serve the character of a male protagonist thereby reducing their characters as a plot device leaving no room for character development. This study is beneficial to enthusiasts of literature specifically the following: students, educators, and future researchers. This research will help readers to view female characters under the spotlight of the trope, Women in Refrigerator. The researcher suggests that authors be made aware of the aforementioned trope so that they do not compose their characters in this manner.
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Zagagi, Netta. "Mythological hyperboles and Plautus." Classical Quarterly 36, no. 1 (May 1986): 267. http://dx.doi.org/10.1017/s0009838800010776.
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In the first chapter of my book Tradition and Originality in Plautus: Studies of the Amatory Motifs in Plautine Comedy, I have expressed the view that mythological hyperboles in which the Comic character asserts his superiority in one respect or another to a mythological hero, far from being a product of Plautus' own imagination, as suggested by E. Fraenkel, are a specifically Greek element, adapted by Plautus from his originals. Here I should like to draw attention to one particular aspect of the pattern of thought in question, not dealt with in my book, which reinforces my argument and further underlines the traditional framework of which this pattern forms part.
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Vasiljeva, Ekaterina V. "METHODS AND TECHNIQUES OF MYTHOLOGIZATION IN S. RUSHDIE’S NOVEL ‘THE GROUND BENEATH HER FEET’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 73–82. http://dx.doi.org/10.17072/2073-6681-2021-1-73-82.
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The study is devoted to the analysis of methods and techniques of mythologization in the novel The Ground Beneath Her Feet written by the British author of Indian origin S. Rushdie. The paper explores the narrative organization of the novel, in which images and motifs of ancient mythology are used as a special code for artistic interpretation of European culture of the second half of the 20th century. The article examines the artistic reality of the novel, which combines the modern history of rock culture and classical mythology of Ancient Greece. S. Rushdie addresses problems related to the nature of creativity using as the main plot-forming motifs such mythologemes as the love story of Orpheus and Eurydice, the myth of alldevouring Tartarus, twin myths. The study shows that a typical technique for creating expressive threedimensional multivocal images in Rushdie's novel is a combination of real facts from the world of rock culture and mythological allusions, intertwining, overlapping and collision of various motifs and plots of Greek mythology, which, taken all together, generates the original artistic reality. The article analyzes how the myth of Orpheus and Eurydice acquires a cultural dimension in the novel and what techniques are used by the author to activate the extensive cultural memory of the Orphic myth. The concentration and interpretation of iconic images and motifs of ancient mythology are used in the novel for artistic analysis of the state of culture in the second half of the 20th century and of its attempts to counter the catastrophic tendencies of destruction and death of the modern civilization.
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Orlyansky, Evgeny. "The main features of the economic ethics of European paganism." SHS Web of Conferences 101 (2021): 02003. http://dx.doi.org/10.1051/shsconf/202110102003.
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This article is devoted to the study of the main distinguishing features of the economic ethics of religious and mythological systems of the main ancient ethnic groups of Europe in the pagan era. The economic ethics of these systems is the very first foundation of the Christian economic ethics that dominated in the traditional market economy. It formed the basis for its development in ancient philosophy and, then, in Christianity. This economic ethics is most clearly expressed in ancient Greek mythology. But it is not limited to this, and its main features are also present in the religious and mythological systems of other European ethnic groups (Scandinavians, Celts, Balts, Slavs), which gives it the universal character.
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Salakhova, A. "History and myth in Leonid Yuzefovich’s novel “Philhelle”." Philology and Culture, no. 2 (June 25, 2024): 188–92. http://dx.doi.org/10.26907/2782-4756-2024-76-2-188-192.
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The article analyzes L. Yuzefovich’s novel “Philhellene” from the point of view of its historical and mythological (mythopoetic) codes’ functions. The purpose of the work is to identify historical and mythological encodings in the novel, using descriptive and mythopoetic research methods. Particular attention is paid to the analysis of the type of hero, the character system, as well as the identification of the novel chronotope and the justification of its genre characteristics. We argue that L. Yuzefovich’s novel is not a historical novel in the generally accepted sense. Although “Philhellene” has the necessary markers of the historical novel genre, L. Yuzefovich, through the category that we call “duality”, rises to the level of the symbolic generalization characteristic of myth. In his authorial myth, history, mythologized history, mythology, epic and legend coexist in one space, determining the originality of the novel world of “Philhellene”. We analyze the image of the main character, Mostsepanov who reveals a clear similarity with the image of the epic hero. In his wanderings, a mythopoetic chronotope is embodied through the prism of L. Yuzefovich’s authorial myth. The article states that L. Yuzefovich sees Greece’s path to prosperity through the merging of two related national identities – Russian and Greek – so Mostsepanov becomes the embodiment of this synthesis. As a result of the above statements, “Philhellene” can be characterized as a historical-mythological novel with a predominance of the mythological code.
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Χείλαρης, Δημήτρης. "ΔΗΜΗΤΡΗΣ ΧΕΙΛΑΡΗΣ, Μεταπλάσεις του μύθου της Πηνελόπης στη νεοελληνική μεταπολεμική ποίηση." Σύγκριση 31 (December 28, 2022): 240–51. http://dx.doi.org/10.12681/comparison.31331.
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Transformations of the myth of Penelope in modern Greek post-war poetry The research of the mythical texts, i.e. the multiple versions and representations of the myth in the Modern Greek literature, constitutes one of the most interesting fields of research of both modern Greek and Comparative Literature. The interpretive study of the myth in the post-war generations and the investigation of its transformations during this period is still an open issue of Humanities. The mythological character of Penelope consists of a heroine, which has faced various transformations, both in modern Greek and western traditions, confirming the multiform core of the myth. This paper aims to focus on the thematic transformations of myth in modern Greek post-war poetry using the tools of the theory of literature and comparative philology. Admittedly, during the 19th and 20th centuries, the image of the faithful wife is dominant. However, in late rewritings, this image is generally changed; from the self-referential Penelope of Katerina Aggelaki-Rouk, the ironic Penelope of Vavouris to the contemporary Penelope of Manos Eleftheriou, this heroine is constantly transformed. Besides, it’s a commonplace that the historical and socio-political reality of that morally and ideologically crucial era played a decisive role for the multiple transformations of the myths and for determining the position of the female sex, which also justifies the different mythological reinterpretations. The myth either underlines the painful historical conditions or triggers the creation of a personal mythology. Finally, myth appears as a channel for returning to the ancient Greek cultural heritage or constitutes a personal testimony to the existential pain of the modern individual.
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Khudenko, E. A. "PLOT «DEATH OF A YOUNG MAIDEN» IN THE POETICS OF SHORT STORIES BY I. A. BUNIN." Culture and Text, no. 43 (2020): 25–34. http://dx.doi.org/10.37386/2305-4077-2020-4-25-34.
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The article is devoted to the consideration of the plot scheme associated with the death of a girl at a young age – a plot that is quite common in Bunin poetics. The mythological and ritual-sacral etymology of the plot is transformed in Bunin’s poetics into an existential problem of searching for human freedom and its borders, and generates a philosophical opposition/identity «love and death». The ways of introducing the plot scheme and the types of the girl’s death are original – a certain effect of “estrangement” of the author is created, indicating a deep ontological contradiction between the beauty and sensuality of a female character and the tragic end of her fate. The heroine’s life and death is based on the model of the ancient Greek pnigos, and has the qualities of hyperbolized theatricality, but without the effect of catharsis. Thus, the ritual and mythological content of the plot scheme is problematized and filled with new meanings in Bunin’s poetics.
Books on the topic "Eurydice (Greek mythological character)"
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Neuwirth, Barbara. Eurydike überlebt: Hörspiel. St. Pölten: Literaturedition Niederösterreich, 2021.
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1956-, Parkinson David John, ed. The complete works. Kalamazoo: Medieval Institute Publications, Western Michigan University, 2008.
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Henryson, Robert. The poems of Robert Henryson. Kalamazoo, Mich: Medieval Institute Publications, 1997.
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Anne, Carson. H of H Playbook. Norton & Company Limited, W. W., 2021.
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Anne, Carson. H of H Playbook. Penguin Random House, 2021.
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Anne, Carson. H of H Playbook. New Directions Publishing Corporation, 2022.
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Anne, Carson. H of H Playbook. Penguin Random House, 2021.
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Stefano Landi LA Morte D'Orfeo (Recent Researches in the Music of the Baroque Era). A-R Editions, 1999.
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Twelve Tasks of Heracles: And, Arion and the Dolphins. Walker Books, Limited, 2017.
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Odyssey (AmazonClassics Edition). Amazon Publishing, 2017.
Find full textBook chapters on the topic "Eurydice (Greek mythological character)"
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Østermark-Johansen, Lene. "Character and Caricature." In Walter Pater's European Imagination, 158—C4.F13. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.003.0005.
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Abstract The chapter discusses how Pater conceives of and constructs character. It adopts a prismatic approach, stressing parallels between the portraits, tragedy, and the character study, placing Pater in dialogue with Euripides, Philostratus, and Theophrastus. As Pater aestheticizes classical tragedy, he recreates Euripides’ Bacchae in ‘Denys l’Auxerrois’ and rewrites his fragmentary Hippolytus play. Philostratus’ Imagines serve as likely intertexts for Pater’s mythological portraits, as they employ the ekphrastic form of the short prose narrative in a transformation of the plots and characters of Greek tragedy into brief descriptions of paintings. The Theophrastan Characters form counterparts to Philostratus’ Imagines: a short, isolated form, centring on the individual, arranged in a sequence which may be rearranged, like the portraits in a picture gallery. The fluid boundaries between character and caricature are explored with the underlying argument that some of Pater’s own emotional detachment from his characters, often expressed through ironizing narrators, derives from his need to respond to the criticism of his style, person, and ideas. The chapter makes a case study of Rothenstein’ s Oxford Characters which includes a portrait of Pater and Pater’s character sketch of Frederick Bussell. Oxford Characters addresses the essence of Oxford life, implicitly asking what an Oxford character is. The Paterian educator becomes a recognizable type who speaks Pateresque and holds aesthetic ideals, most of which can be traced back to misreadings of The Renaissance. A subversive form, parody dissolves boundaries between one author and another, questioning our ideas about the integrity of personality and artistic product.
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"Commentary." In Sophocles: Oedipus Tyrannus, edited by Jenny March, 163–314. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622546.003.0003.
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The commentary seeks to elucidate and explain the background and the significance of every line of this text. It is based on the translation of the play rather than the ancient Greek text. It gives the reader sufficient information to understand historical, mythological and literary references, while also directing readers towards other sources of information and alternative viewpoints. The role of the gods, Oedipus’ character and his relationship with the people of Thebes are explored. Above all, the commentary seeks to show the poetic power and skill of Sophocles’ writing, as he inexorably builds dramatic tension towards Oedipus’ realisation of that which the audience already knows: his terrible fate.