Academic literature on the topic 'Mythology, Classical – Poetry'
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Journal articles on the topic "Mythology, Classical – Poetry"
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Earthman, Elise Ann. "The Siren Song That Keeps Us Coming Back: Multicultural Resources for Teaching Classical Mythology." English Journal 86, no. 6 (October 1, 1997): 76–81. http://dx.doi.org/10.58680/ej19973435.
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Notes the presence of references to classical mythology throughout modern culture, and offers an annotated list of 43 works of contemporary fiction, poetry, and drama that use mythological sources and that can help close the gap between today’s students and the gods and goddesses, heroes and monsters of long ago.
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Reid, Katie. "Richard Linche: The Fountain of Elizabethan Fiction." Studies in Philology 120, no. 3 (June 2023): 527–56. http://dx.doi.org/10.1353/sip.2023.a903805.
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Abstract: This essay represents the first scholarly assessment of the complete works of the Elizabethan poet and translator Richard Linche (fl. 1596–1601). Linche was interested in classical mythology, sonnet writing, and prose translation. He was also concerned with the burning literary questions of the 1590s and early seventeenth century. This article analyzes Linche’s sonnet sequence Diella (1596) and his love poem The Love of Dom Diego and Gynevra (1596), highlighting Linche’s use of ancient mythology as an ideal vehicle for exploring personal passion in contemporary poetry. It then turns to Linche’s English translation of the Italian mythographer Vincenzo Cartari, The Fountaine of Ancient Fiction (1599) , to illustrate how Linche deals with mythology as an inspiration for literature. Linche identifies myth as an appealing source for contemporary writing while displaying discomfort with some of its sexual content. Finally, this article discusses Linche’s An Historical Treatise of the Travels of Noah into Europe (1601), placing the work in the larger picture of his literary career and suggesting that it was a euhemeristic response to his earlier explorations of myth. In contrast to Linche’s earlier works, The Travels offers a de-personalized and desexualized approach to myth. By providing the first detailed critical assessment of Richard Linche’s oeuvre, this essay reveals an Elizabethan writer who was interested in what inspires fiction, particularly in the complicated moral issues surrounding the sensuality of classical mythology and the role of eroticism in contemporary poetry.
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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.
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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.
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Karbashevska, O. V. "THE ORNITHOLOGICAL IMAGE-SYMBOL «EAGLE» IN LITERARY AND FOLK POETRY: BRITISH-UKRAINIAN CONTEXT." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 265–74. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-265-274.
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The article makes an attempt of the overall analysis of the peculiarities of symbolism of the bird «eagle» in author’s and folk poetry in the context of ethnic cultures of the United Kingdom, the USA and Ukraine, classical and Ukrainian mythology, as well as British history. It traces the continuity of established dominant features of this ornithological image-symbol.
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Kluge, Sofie. "Amazonas del mar y sátiros acuáticos." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 1 (March 6, 2009): 94–111. http://dx.doi.org/10.1075/rro.44.1.06klu.
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The work of Luis de Góngora (1561–1627) arguably represents the peak of early Baroque poetic mythography, but even if myth is a recurring element in Gongorine poetry its appearance varies greatly. From the youthful poetry to the major works of the first decades of the 17th century and beyond we find important nuances and a recurring revaluation and redefinition of myth. Thus, starting off by the both moral and sensual interpretation characteristic of Renaissance literature in the early sonnets, passing through Ovidian aetiology in the Fábula de Polifemo y Galatea and the philosophical meditation on myth in the Soledades, the poet reaches the satirical-burlesque with a moral flavour in the Fábula de Píramo y Tisbe. However, underlying all these different phases we find a persistent ambiguity rooted in the ambiguous post-classical reception of Greco-Roman mythology. On the background of a brief survey of the ambiguous concept of classical mythology permeating Góngora’s work from beginning to end, the present article particularly explores the meditative phase of the Soledades, arguing its importance for our understanding of the Baroque period as well as for the origin of what may be termed the tradition of ’mythological literature’.
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Navarrete, Miquel Àngel, and Josep Maria Sala-Valldaura. "La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual." Zeitschrift für Katalanistik 1 (July 1, 1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.
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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.
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Mellor, Leo. "George Barker in the 1930s: Narcissus and the Autodidact." Modernist Cultures 10, no. 2 (July 2015): 250–68. http://dx.doi.org/10.3366/mod.2015.0111.
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This article traces the complex and potent role of classical mythology in the poet George Barker's work of the 1930s. Noting Geoffrey Grigson's rage about ‘narcissism’ when reviewing Barker in 1935 it shows why this barb was more perceptive and apposite – in acknowledging an obsession with both a figure and an overtly classical precedent – than the acclamation given to Barker at the time, from T. S. Eliot among others. Central to the article is an exploration of Barker's heterodox version of a common modernist urge: encountering and reworking of fractured myths. For the radical and ever-present notions of uncertainty with which classical tales and Gods are treated in Barker's work is also revelatory of the autodidactic process – incomplete, unstable, and without class-annotated cultural authority – by which he gained such knowledge. The article thus situates Barker within a cultural matrix, and draws renewed attention to the pluralities of poetry within 1930s Britain.
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Hasan, Kamrul. "Mythology in Modern Literature: An Exploration of Myths and Legends in Sylvia Plath’s Poetry." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 294–301. http://dx.doi.org/10.22161/ijels.84.48.
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Mythology has become an intrinsic part of literature for the symbolic, structural and functional values it imparts to a text. Although the use of myths and legends in literature has been transformed contextually over the different literary periods, modern writers extensively reappropriated and used them to portray the complexity of the theme and narrative structure of a text. They illustrated the contemporary fragmented reality and individual experience through myths. By incorporating myths in a text, modern writers sometimes created fictionalized and artificial myths of their own. American poet Sylvia Plath made personalized use of myths and legends in her poetry. The paper shows how she, as a confessional poet, amalgamates her personal anxiety and distress with characters and symbols from diverse mythological sources such as the story of Medusa, Medea, Persephone, Electra etc. Apart from classical myths, she incorporated European folktales, Norse and Arthurian myths. Her extensive use of myths portrays the condition of women and the role of patriarchy from a feminist perspective. It also illustrates her attitude toward her father and mother, her distress, agony and suicidal attempts and sometimes expresses her views on life and the contemporary world. Like many modern poets, she turned away from the traditional and orthodox poetic practice and rechanneled her individual crises into poetry which is full of mythological symbols and images.
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Lebedeva, Irena V. "Review of the Book “Monsters and Monarchs: Serial Killers in Classical Myths and History”." Corpus Mundi 4, no. 1 (July 10, 2023): 110–16. http://dx.doi.org/10.46539/cmj.v4i1.80.
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Serial killers have been a popular topic in literature for centuries, appearing in works of fiction, non-fiction, and even poetry. In literature, serial killers often represent the dark side of human nature, and their stories often explore the depths of depravity and the psychological motivations behind their heinous acts. Examples of serial killers can be found throughout history and mythology. With all that the public’s attention is usually focused on the serial murders of the latest decades, with the historical cases still generally remaining in the obscure. The reason for that lack of publicity is that serial killers in antiquity are difficult to identify, because the concept of serial killing is a relatively modern one. One of the pleasant exceptions is a book by Debbie Felton “Monsters and Monarchs: Serial Killers in Classical Myths and History” published by University of Texas Press, 2021, 235 pp., ISBN: 978-1-4773-2357-1 (paperback edition). This article reviews the book and comments on its contents and style.
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Persi, Ugo. "Античные мотивы в поэтическом мире Максимилиана Волошина. Aрхаизм или архаизирование ?" Modernités Russes 15, no. 1 (2015): 315–23. http://dx.doi.org/10.3406/modru.2015.1042.
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In Maksimilian Vološin’s poetry and criticism classical antiquity does not predominate over other themes, yet at the same time we can argue that Greek antiquity reverberates throughout his work. Vološin tackled the theme of archaism in an essay published in the first issue of Apollon. Pavel Muratov criticized it harshly, considering unacceptable its confusion of archaism and archaicization. Vološin was not actually archaicizing antiquity : he was refashioning it through the use of archetypes. It is thus necessary to study antiquity in Vološin not only in the light of classical philology and mythology, but also through the prism of archetypes, with a particular focus on the archetypes linked to stiffness, to the rigidity of stones. In Athens, for instance, Vološin reacted to the Acropolis with an astonishment that was not associated with the point of view of the philologist or the art scholar, but privileged instead the point of view of the stonecutter-phenomenologist.
Dissertations / Theses on the topic "Mythology, Classical – Poetry"
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Ruutu, Hanna. "Patterns of transcendence : classical myth in Marina Tsvetaeva's poetry of the 1920s /." Helsinki : Dep. of Slavonic and Baltic Languages and Literatures, 2006. http://www.loc.gov/catdir/toc/fy0803/2007465568.html.
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McKenna, Edward Francis. "Live or Die unmasking the mythologies of Anne Sexton's poetry /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/mckenna/McKennaE0508.pdf.
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Bocksberger, Sophie Marianne. "Telamonian Ajax : a study of his reception in Archaic and Classical Greece." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a9bacb2a-7ede-4603-9e6a-bf7f492332ed.
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This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.
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Ginard, Puigserver Maria. "BIOI. Tradicions biogràfiques dels poetes mítics grecs." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/314387.
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La construcció de les tradicions biogràfiques dels poetes mítics grecs va començar a gestar-se des de les primeres manifestacions literàries gregues i es va prolongar durant segles. Al llarg d’aquest període, aquestes figures van ser adoptades amb finalitats diverses i van encaixar en els usos i les necessitats individuals o col·lectius d’autors literaris, grups de culte o interessos polítics. A més a més, la construcció biogràfica d’aquests poetes comparteix processos i mecanismes de caracterització similars als que van fer servir les tradicions dels poetes històrics i d’altres operadors culturals com els filòsofs. Així doncs, la tesi analitza els motius biogràfics principals que s’incorporaren a les figures dels poetes mítics, per blocs temàtics, i el procés com es generaren i s’aprofitaren els t pics i els motius biogràfics en els poetes considerats sovint iniciadors de la poesia grega. Les anàlisis d’aquesta recerca s’organitzen principalment al voltant de figures com Tàmiris, Orfeu, Museu, Eumolp, Epimènides, Linos, Olè, Filammó i Amfíon, entre d’altres, i s’estructuren seguint uns eixos temàtics com són els orígens (genealogia i pàtria), les relacions de magisteri i d’iniciació i altres motius típics de la biografia heroica (el viatge, els enfrontaments poètics i amb el poder, les invencions, la institució de cultes, la mort i la integració en la condició heroica).
L’estudi dels motius biogràfics ha comportat la identificació d’una funció d’equivalència entre alguns d’aquests motius i s’hi ha detectat també una voluntat de jerarquització i competència, molt lligada al context cultual en què molts d’aquests poetes tenien presència. De manera similar, els biografemes han contribuït a assignar als poetes analitzats una funció instauradora per a la tradició literària i religiosa que els prenia com a referent, com a conseqüència de la relació constant i privilegiada amb la divinitat.The development of the biographical traditions of the Greek mythical poets started with the first Greek literary works and it lasted for centuries. Throughout this period these figures were adapted for different uses and they suited literary, cultic or political interests either particularly or collectively. Furthermore, the shaping of the traditions of these poets, generally considered previous to Homer, has similarities with the historical poets, philosophers, sages and others. So, the thesis analyses the main sets of biographical formulaic themes and the process in which these formulaic motifs were elaborated and reshaped. The poets studied are Thamyris, Orpheus, Musaeus, Eumolpus, Linus, Epimenides, Olen, Philammon and Amphion among others, and the topics are their genealogy and origin, poetic initiation and other traditional topics of the heroic biography (teacher-pupil relationship, travel, song contests, quarrel with authorities, inventions, establishment of new cults, death, heroization). The study of these biographical traditions has led to identify the equivalence among some formulaic themes and the intention to set up a hierarchy, tied to cultic context where these poets were used. Similarly, the biographemes contributed to assign them an authoritative role for the literary and religious tradition which took them as a referent, thanks to the constant and privileged relationship with deities.
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Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /." Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.
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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /." Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.
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Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.
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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.
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Lagrou, Sarah. "La création poétique dans le théâtre grec classique ou comment surprendre toujours dans un cadre traditionnel : l’exemple du mythe d’Œdipe dans la tragédie grecque." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30012.
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Cette thèse de doctorat vise, à partir de l'exemple que constitue le traitement du mythe d'Œdipe par les trois dramaturges que sont Eschyle, Sophocle et Euripide, à comprendre comment les tragiques grecs, qui traitaient toujours des mêmes histoires, et suscitaient pourtant l'intérêt du public, ont su renouveler la création théâtrale, en parvenant à ne pas faire les mêmes pièces à partir des mêmes légendes. Certes, la matière mythique n'était pas figée en soi ; toutefois, comme la tragédie était un genre très codifié dans sa structure et relativement limité en termes d’effets visuels, c'est surtout sur le texte même que l'auteur pouvait intervenir, au prix d'un travail toujours renouvelé sur sa langue.C'est donc au texte même des tragédies que cette étude s'attache, texte qui est abordé selon une triple perspective, à la fois herméneutique, philologique et comparatiste, ce qui permet de comprendre non seulement les enjeux profonds de chacun d'eux, mais aussi les variations sur le mythe et les effets ainsi créés. Le corpus, restreint mais raisonnable (Les Sept contre Thèbes d'Eschyle, l'Œdipe Roi, l'Antigone et l'Œdipe à Colone de Sophocle, et les Phéniciennes d'Euripide), est analysé avec rigueur et aussi peu d'a priori que possible. Cette étude permet de mieux comprendre le fonctionnement de la tragédie, ainsi que la façon dont une poétique se renouvelait sans cesse et évoluait de la sorte, en explorant les possibilités que lui offrait sa langue et en travaillant sur les représentations et les contenus traditionnels dont le poète tragique héritait. Ce projet vise ainsi à mieux saisir les ressorts de la création poétique dans un contexte culturel qui permet d’appréhender au mieux les limites entre lesquelles elle est mise en œuvre ; il permettra également d'approfondir la compréhension d'une culture qui prenait plaisir à aller voir des pièces dont elle connaissait déjà la finThe aim of this PhD thesis, based on Aeschylus’, Sophocles’ and Euripides’ treatments of the Oedipus myth, is to understand how Greek tragic playwrights – who aroused the public interest while always dealing with the same stories – managed to reinvent theatre and write new plays out of the same myths. Admittedly, mythical material was not fixed, yet, tragedy was a genre which structure was highly codified, and quite limited in terms of visual effects. Thus, it was mainly within the text itself that authors could intervene by way of an ever-repeated work on their own language. Therefore, it is the texts of tragedies themselves which are the subject of this study, and which will be explored from three different perspectives; hermeneutic, philological and comparative. This not only allows for an understanding of the deeper issues each text tackles, but also of the variations on the myth and the effects they create. The corpus (Aeschylus' Seven against Thebes, Sophocles' Antigone, Œdipus Rex, Œdipus at Colonus, Euripides' Phoenician Women) – limited yet reasonable – will be analysed rigorously and with as little a priori as possible. What is proposed in this study is a better understanding of how the mechanics of tragedy worked, as well as of how part of a poetics could evolve through perpetual renewal, as tragic poets explored the possibilities of their language, worked on representations and traditional materials they had inherited. The aim of this study is to better grasp the means of poetic creation in a given cultural context so as to gain the best possible understanding of the limits within which it took place. It also allows for a deepened understanding of a culture in which people still enjoyed plays while already knowing how they would end
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Nagy, Szerdi. "Girl guides : towards a model of female guides in ancient epic." Thesis, 2009. http://hdl.handle.net/10413/1123.
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Numerous ancient epics and their heroes share certain characteristics. Lord Raglan and Joseph Campbell, among others, developed these characteristics into hero models. In their models, it is mentioned that many heroes undergo a katabasis or a figurative death and resurrection. The presence of a female guide in the hero’s descent into the Underworld has been largely neglected in Classical scholarship, despite the fact that the study of epic has been for some time a largely saturated field. It will be this aspect of the epic that I intend to examine. I will be examining a selection of female guides and
will create a model consisting of their similarities loosely based on those models of Raglan and Campbell. I will be examining the role of female guides in various epics; namely, the Gilgamesh Epic (Siduri), the Odyssey (Circe), and the Aeneid (the Sibyl) and in a later chapter, those in the Argonautica (Medea) and the Pharsalia (Erichtho). In addition to these guides, I shall be examining one guide that does not come from epic, Ariadne. The female guides I shall be examining appear in two forms, either as a literal guide who descends with the hero into the Underworld, or as a figurative guide who provides assistance from a distance through advice or instruction. One of the reasons why I feel that this topic is of importance is the socio-historical context in which these texts were
written, times and places when women played a largely inferior and subservient role to men. The fictional literary guides seem to be representing strong and independent women. I find this to be remarkable considering the times that these texts were written in. The analysis of these female guides will conclude with a compilation of the similarities they share that shall form the basis for my own female guide model. My model will be established in two consecutive steps: first the female guides Siduri, Circe and the Sibyl will be examined and a preliminary model established. In addition, I will try and prove a common ancestry for them. Secondly, I will test my preliminary model on Medea, Erichtho and Ariadne. As a result, I will propose a final model comprising all the female guides dealt with in my dissertation. This model will be my contribution to scholarship on epic literature from a Comparative approach.Thesis (M.A.) - University of KwaZulu-Natal, Durban, 2009.
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Steyn, Herco Jacobus. "Protean deities : classical mythology in John Keats’s ‘Hyperion poems’ and Dan Simmons’s Hyperion and The fall of Hyperion." Diss., 2011. http://hdl.handle.net/10500/4908.
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This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness.English Studies
M.A. (English)
Books on the topic "Mythology, Classical – Poetry"
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Fahey, Diane. Listening to a far sea. Alexandria, N.S.W: Hale & Iremonger, 1998.
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Stallings, A. E. Archaic smile: Poems. Evansville, Ind: University of Evansville Press, 1999.
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Wind, Chris. Myths. Sundridge, Ont: Magenta, 1988.
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Shakespeare, William. Venus und Adonis ; Tarquin und Lukrezia: Zwei Gedichte : zweisprachige Ausgabe. München: Süddeutsche Zeitung, 2007.
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Malamud, Martha A. A poetics of transformation: Prudentius and classical mythology. Ithaca: Cornell University Press, 1989.
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1796-1867, Bulfinch Thomas, ed. The classic myths in English literature and in art, based originally on Bulfinch's "Age of fable" (1855): Accompanied by an interpretative and illustrative commentary. Cheshire, Conn.?]: [Biblo-Moser], 1995.
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Monsigny. Mythology: Or, A history of the fabulous deities of the ancients; designed to facilitate the study of history, poetry, painting, &c. Randolph [Vt.]: Printed by Sereno Wright, for Thomas and Merrifiel, 1986.
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Revard, Stella Purce. Milton and the tangles of Neaera's hair: The making of the 1645 Poems. Columbia, Mo: University of Missouri Press, 1997.
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Ruutu, Hanna. Patterns of transcendence: Classical myth in Marina Tsvetaeva's poetry of the 1920s. Helsinki: published by Dept. of Slavonic and Baltic Languages and Literatures, University of Helsinki, 2006.
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Cossío, José María de. Fábulas mitológicas en España. Tres Cantos, Madrid: Istmo, 1998.
Find full textBook chapters on the topic "Mythology, Classical – Poetry"
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Leask, Nigel. "Poetry and Mythology: the Coleridges and the Classical Revival." In The Politics of Imagination in Coleridge’s Critical Thought, 147–55. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19283-0_15.
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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.
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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Hutchinson, G. O. "Parmenides, On Nature." In Motion in Classical Literature, 191–214. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0007.
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On Nature is a poem as well as philosophy. The different parts of the poem deny motion, assert motion, offer abundant metaphorical motion. The prominent opposition between motion and immobility is both philosophical and poetic; it differs from, and relates to, verbal and philosophical clashing in Heraclitus. Parmenides’ language presents a further clash between the traditional and the new (Homeric poetry, not prose, but turned in startling directions). The image of the chariot ride has both mythological and contemporary resonance. Most of what remains from the poem is discussed in detail, including: the narrator’s ride towards the unnamed goddess, the two roads of inquiry, a third road wandered on by bewildered two-headed mortals, the revelation of unmoving reality with metaphors of motion, the wandering of the moon (in the world as seen by opinion). These present: arresting combinations of abrupt obscurity and speed, of intellectualism and mythology; a satirical vision of Heracliteans; multiple levels of motion and non-motion in challengingly opaque argument; inferior and superior modes of movement in heavenly bodies. The contrasts involving motion go beyond movement and immobility to wandering and firmly purposeful action. The narrator’s individual motion is enhanced by a group (goddesses) and opposed to groups (mortals and Heraclitean mortals). The treatment of motion is doubly vital to the philosophical poem.
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Hopkins, David. "Introduction: Reception as Conversation." In Conversing with Antiquity, 1–36. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199560349.003.0001.
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Abstract The classical past is a pervasive presence in English poetry from the early Middle Ages to the present day, and particularly in the centuries which are the main concern of the present volume. Many of the most prominent English poetic forms – epic, verse-tragedy, ode, formal satire, elegy, pastoral, verse-epistle – derive from classical precedent. English writers have regularly invoked what they took to be the assumptions and criteria of ancient literary criticism. And a long line of English poets has devoted substantial energy and practised artistry to the direct translation of Greek and Latin verse, a topic which will be a central concern of this book. Thus, when the late Philip Larkin remarked that ‘to me the whole of classical and biblical mythology means very little, and I think that using them today not only fills poems full of dead spots but dodges the writer’s duty to be original’,1 he was giving voice, in a deliberately provocative manner, to sentiments that he knew to be unrepresentative even of such well- known contemporaries as W. H. Auden and Louis MacNeice, let alone of the great poets of the past. English writers, to be sure, had often noted the dangers of excessive or injudicious use of classical material, or expressed more open hostility to classical influences.
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Hutchinson, G. O. "Sophocles, Philoctetes and Oedipus at Colonus." In Motion in Classical Literature, 153–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0006.
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Tragedy presents motion visually, but this is only part of one level of motion. Actual but unseen motion and metaphorical motion interact with stage motion in the rich mythology and language of tragedies. Tragic plots involve motion beyond the stage and are part of larger myths of motion; lyric and speech in Antigone and OT exhibit dense complexes of poetry, events, action. The tragic language of motion is elaborate; each of Sophocles’ plays has its specialities. Tragedy likes speed; but the Philoctetes and OC exploit laborious movement, fraught with long suffering. They survey through motion Philoctetes’ solitary disability and Oedipus’ old age with his daughter. The passages looked at include Philoctetes telling of his endeavours to get food, an attack on stage in which he falls down, the moral and dramatic intricacies of attempted joint motion with Neoptolemus, Antigone being carried off, the winds assailing old age, the failed journey of Oedipus’ son. They manifest: the difficult specifics of movement, graphic stage movement, interweaving of drama and metaphor, groups and individuals, near-authorial lyric, obstinate immorality. Motion in the plays ranges from imagined entry into heaven or the underworld to pain within the body and awkward sitting down. The chamber Philoctetes offers a vast breadth of motion; the fixed OC shows constant fluctuation.
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Hassan, Waïl S. "Brazilian Mu‘allaqa." In Arab Brazil, 211–43. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197688762.003.0010.
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Abstract Alberto Mussa (b. 1961) is the author of the novel O enigma de Qaf (2004, The Riddle of Qaf) and the translator of pre-Islamic poetry. Narrated by a Brazilian of Arab descent, the novel is set in the late fifth or early sixth century Arabia and tells the story of a fictional poet who is supposedly the author of a lost classical ode. The novel draws on The Book of a Thousand and One Nights and Tupi mythology to construct a parable of cultural mixture and hybridization. Premised on the idea of Oriental wisdom, Mussa’s literary project represents a conscious attempt both to discover his cultural roots as a Brazilian of mixed Arab and Indigenous descent and to establish a dialogue between Arabic and Brazilian literatures through translation and fictional creation.
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Borchmeyer, Dieter. "In Search of a Lost Style: Wagner’s Ideal of ‘Classical Form’." In Richard Wagner, 75–86. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780193153226.003.0007.
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Abstract In his open letter to Nietzsche of 12 June 1872 (a letter prompted by Ulrich von Wilamowitz-Moellendorffs critique of Nietzsche’s Die Geburt der Tragödie) Wagner voices his enthusiasm for ‘classical antiquity’, dating his interest in the language, mythology, poetry, and history of ancient Greece from his childhood years. Although he had been denied a thorough philological training, he had, he goes on, gradually distilled ‘an ideal perception of art’ (ix. 296) from his study of antiquity—by which he invariably meant Greek antiquity. (In general he held a low opinion of Roman antiquity, which he was even led, on occasion, to dismiss altogether.) In Mein Leben he traces in detail the Greek influences on his view of the world and on his aesthetic thinking, and it is significant that, as with Hölderlin, whose Hyperion he naturally held in low esteem (CT, 24 December 1873 and passim), these influences were mixed with contemporary impressions gained during childhood, notably his enthusiasm for the Greek War of lndependence.
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Lerer, Seth. "Transitions." In The Oxford History of Poetry in English, 19–33. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0002.
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This chapter explores the ways in which writers of the early sixteenth century responded to and developed the inheritance of Chaucer’s Middle English lyric voice and vocabulary and, in the process, adapted that material to new Tudor literary and social contexts. Building on recent scholarship about manuscript transmission and early printing, the chapter reassesses the textual condition of a writer such as Thomas Wyatt: read in its manuscript contexts, his verse seems, to our eyes, much more ‘medieval’ than it might be in the modernisations of the printer Richard Tottel. In addition, the chapter examines the inheritance of Ovid’s mythology to illustrate a new, social interpretation of classical literature and its medieval transformation. By looking, too, at lesser-known texts and writers from the early Tudor period (e.g., the anonymous poems, La Conaissance D’Amours and The Fantasy of the Passion of the Fox, and the poetry of the prolific, but now ignored Nicholas Grimald), the chapter seeks to give a nuanced reading of a literary age long thought of as simply dominated by Wyatt and Surrey and courtly taste.
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Hopkins, David. "Some Varieties of Pope’s Classicism." In Conversing with Antiquity, 250–69. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199560349.003.0011.
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Abstract Educated eighteenth-century English culture was permeated at every level by the art, history, mythology, philosophy, and literature of ancient Greece and Rome. School and university curricula were dominated by the study of classical (and particularly Latin) texts, in ways that had changed little since the Renaissance. Schoolboys and undergraduates were drilled not only in classical poetry, philosophy, and oratory but also in the historical, geographical, medical, math- ematical, and legal lore of the ancient world. Figures from republican Rome attained the status of cult heroes among the English ruling classes. Eminent politicians and land-owning grandees had themselves sculpted in the manner and garb of virtuous Romans. Young aristo- crats and gentlemen on the Grand Tour visited the monuments of Rome, and later Herculaneum and Pompeii, and brought back with them physical relics of the classical past. (Travel to Greece became more common as the century progressed.) Parliamentary speakers modelled their orations on those of Cicero and Demosthenes.
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Haubenreich, Jacob. "‘My whole being fell silent, and read’: Peter Handke’s Hölderlin and Heidegger Reception." In Hölderlin's Philosophy of Nature, 178–96. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474454155.003.0010.
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This chapter explores the reception of Hölderlin by Peter Handke during his ‘classical turn’ or ‘turn to nature’ in the late 1970s. Emerging out of a deep crisis of writing, Handke launched a new poetological project of slowness and the re-auraticization or re-mythification of reality. Handke’s manuscript notebooks reveal a much more intensive engagement with Hölderlin’s writing during this period than is generally recognized. Considering Handke’s project of writing as a new ‘new mythology’, this chapter examines the formative influence of Hölderlin – mediated in part by Heidegger’s Hölderlin essays – on Handke’s practice of attuning to nature and everyday experience, and on his investigations of the nature of poetry, the textual representation of nature, and the writer’s task. This influence was not merely one of abstract metaphysical reflection; rather, it shaped Handke’s physical, material practice of writing at a pivotal moment in the development of his career.