Journal articles: 'Orpheus and Eurydice'

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Veres, Ottilia. "The Story of Orpheus and Eurydice in Coetzee and Rilke." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 41–48. http://dx.doi.org/10.1515/ausp-2016-0003.

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Abstract J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre.

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Nelson, Byron. "Orpheus and Eurydice (review)." Theatre Journal 49, no. 4 (1997): 513–14. http://dx.doi.org/10.1353/tj.1997.0110.

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Boynton, Susan. "The sources and significance of the Orpheus myth inMusica Enchiriadisand Regino of Prüm'sEpistola de harmonica institutione." Early Music History 18 (October 1999): 47–74. http://dx.doi.org/10.1017/s0261127900001832.

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Throughout history, the myth of Orpheus and Eurydice has taken on the connotations of its specific cultural contexts. Interpreters of the myth have invested the figure of Orpheus with symbolism to suit their own rhetorical purposes. Each retelling has emphasised certain elements of the myth to make it conform to the intended meaning. In all accounts of the story, Orpheus is a musician who charms animals and inanimate objects with his song. In the fifth century B.C., the death of his wife, Eurydice, and his attempt to rescue her from the underworld became part of the mythographic tradition. According to the best-known version of this story, Orpheus persuades the inhabitants of the underworld to return Eurydice to him, but then loses her when he looks back at her, violating the rule imposed by the underworld.

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Hipolito, Jeffrey. "Owen Barfield’s Orpheus." Journal of Inklings Studies 5, no. 2 (October 2015): 113–22. http://dx.doi.org/10.3366/ink.2015.5.2.5.

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This essay examines Owen Barfield’s reworking of Virgil’s account of the Orpheus myth in the fourth Georgic. It finds that while Barfield retains Virgil’s nesting-doll form he dramatically shifts the thematic focus. In particular, where Virgil’s Stoicism compels him to see Orpheus’s romantic longing for Eurydice as a failure of character, Barfield’s rendering suggests that romantic love both a reflection of and step in the direction of the selfless love towards which each character wittingly or unwittingly strives.

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Deed, Bron. "Night Vision." Ata: Journal of Psychotherapy Aotearoa New Zealand 18, no. 1 (October 1, 2014): 23–34. http://dx.doi.org/10.9791/ajpanz.2014.03.

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This paper explores the poetics of death and dying using an imaginal approach. It focuses on an understanding of death, dying and palliative care within the framework of Arnold Mindell’s process-oriented psychology. It develops a mythopoetic weaving of ideas and images intended to invite reveries of death and dying that take us more deeply into a personal understanding of this liminal experience. The paper is illustrated with reference to poetry and myth, specifically the Greek myth of Orpheus and Eurydice, and offers an extended reverie from Eurydice’s perspective. Waitara E tahuri ana tēnei pepa ki te whakatau i ngā mōteatea tangi, kōwhekowheko hoki mā te ara pōhewa. Ka aronui ki te mātauranga hāngai ki te mate, whakamatemate me te mahi mirimiri e ai ki ngā whakahaere hātepe hinengaro a Arnold Mindel. Ka whaneke ake he rarangatanga whakaaro, whakaahua hai whakaputa i ngā wawata whakahōhonu ake i ngā aweko o te mate me te whakamatemate te huarahi e hōhonu ake ai te mātauranga o tēnei momo wheako. Ko ngā mōteatea me ngā pakiwaitara pūmau tonu atu ki te pakiwaitara Kiriki mō Orpheus rāua ko Eurydice te whakaaturanga whakamāramatanga o tēnei korero, ā, ka whakawhānuihia ake he whakaaro mai i te tirohanga a Eurydice.

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Belfiore, P. J. "Rainer Maria Rilke: Orpheus. Eurydice. Hermes." Literary Imagination 9, no. 3 (May 26, 2007): 351–53. http://dx.doi.org/10.1093/litimag/imm065.

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Zabriskie, Beverley. "Orpheus and Eurydice: a creative agony." Journal of Analytical Psychology 45, no. 3 (July 2000): 427–47. http://dx.doi.org/10.1111/1465-5922.00174.

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Puskás, Dániel. "Orpheus in the Underground." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 45–54. http://dx.doi.org/10.1515/ausp-2015-0034.

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Abstract In my study I deal with descents to the underworld and hell in literature in the 20th century and in contemporary literature. I will focus on modem literary reinterpretations of the myth of Orpheus, starting with Rilke’s Orpheus. Eurydice. Hermes. In Seamus Heaney’s The Underground. in the Hungarian Istvan Baka’s Descending to the Underground of Moscow and in Czesław Miłosz’s Orpheus and Eurydice underworld appears as underground, similarly to the contemporary Hungarian János Térey’s play entitled Jeramiah. where underground will also be a metaphorical underworld which is populated with the ghosts of the famous deceased people of Debrecen, and finally, in Péter Kárpáti’s Everywoman the grave of the final scene of the medieval Everyman will be replaced with a contemporary underground station. I analyse how an underground station could be parallel with the underworld and I deal with the role of musicality and sounds in the literary works based on the myth of Orpheus.

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Ceci, Francesca, and Aleksandra Krauze-Kołodziej. "Χαῖρε Ὀρφεῦ! Perception of a Mystery: The Images of the Myth of Orpheus on Ancient Coins." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (December 2018): 721–40. http://dx.doi.org/10.1556/068.2018.58.1-4.41.

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Summary The myth of Orpheus experienced a great popularity in ancient world, covering the path from a mythical legend to a complex and sophisticated mystic cult. There were many various features of Orpheus that characterized the Thracian singer, being the result of his different adventures: from the quest of the Argonauts and the pathetic story of love of Eurydice, to his journey to the underworld. The myth of Orpheus was highly represented in iconography. The most frequent representations are those showing Orpheus as a singer surrounded by the beasts and, in smaller amount, in the scene representing the story of descent to the underworld in search of Eurydice. Numerous images connected with the legend of Orpheus, dating from the Classical times to Christian era, are the proof of a wide influence of the mystery cult of Orpheus on ancient and late antique culture. This paper aims to present an overview of ancient coinage iconography representing Orpheus. Various motives considering the story of Orpheus appear on one of the most powerful means of propaganda – the coins, particularly from the Roman provinces, that were easily able to reach a wide audience. In the limited space of coins, the engravers could highlight effectively the most important and popular events from the story of Orpheus.

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Nazarenko, Ivan I. "“Orpheus in Hell”: The Transformation of the Myth of Orpheus and Eurydice in Boris Poplavsky’s Novel Home from Heaven." Imagologiya i komparativistika, no. 14 (2020): 90–109. http://dx.doi.org/10.17223/24099554/14/4.

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The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer of spiritual experience to representatives of future generations) functions of art remain.

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Wilson, Nia. "Hadestown." TDR: The Drama Review 65, no. 1 (March 2021): 188–92. http://dx.doi.org/10.1017/s1054204320000167.

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Hadestown, Anaïs Mitchell and Rachel Chavkin’s musical reimagination of the Orpheus and Eurydice myth, sidelines the issue of white supremacy in its explorations of economic inequality, environmental exploitation, and collective action.

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Rutledge, T. "Robert Henryson's Orpheus and Eurydice: A Northern Humanism?" Forum for Modern Language Studies 38, no. 4 (October 1, 2002): 396–411. http://dx.doi.org/10.1093/fmls/38.4.396.

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Kristen Brida. "Eurydice tells us her favorite memory with Orpheus." Fairy Tale Review 14 (2018): 25. http://dx.doi.org/10.13110/fairtalerevi.14.1.0025.

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Wu, D. "Wordsworth's Orpheus and Eurydice: The Unpublished Final Line." Notes and Queries 38, no. 3 (September 1, 1991): 301–2. http://dx.doi.org/10.1093/notesj/38.3.301-a.

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Asoyan, Aram A. "Semiotics of the myth about Orpheus and Eurydice." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2004): 4–25. http://dx.doi.org/10.17223/18137083/6/1.

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Schechner, Richard. "The Director’s Process." TDR: The Drama Review 65, no. 1 (March 2021): 79–94. http://dx.doi.org/10.1017/s1054204320000106.

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In her conversation with TDR, Hadestown director Rachel Chavkin discusses the development, casting, music, and choreography of the Broadway hit musical—a retelling of the ancient Greek myth of Eurydice and Orpheus.

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Kuczyńska-Koschany, Katarzyna. "Wat, poeta orficki." Colloquia Litteraria 12, no. 1 (November 18, 2012): 123. http://dx.doi.org/10.21697/cl.2012.1.7.

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Wat, an orphic poet The most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, somehow more “orphic”: did Wat soften a book version of the poem due to personal reasons (a soften phase of the illness) or was it because of censorship’s intervension? Referring to Orpheus, the author also indicates significant painting contexts (Moreau, Delville, Redon) and sculpture contexts (Rodin); it becomes useful during Wat’s interpretation – his very pictorial illustration (e.g. in the poem Na wystawie Odilon Redona) is also “orphic”, full of blackness. Nevertheless, it seems that Wat’s orphic descent into blackness, inside oneself, into death is even more acute than Rilke’s – since Wat writes about himself, his own death and his own funeral (Wiersz ostatni).

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Bundtzen, Lynda K. "Mourning Eurydice: Ted Hughes as Orpheus in Birthday Letters." Journal of Modern Literature 23, no. 3 (2000): 455–69. http://dx.doi.org/10.1353/jml.2000.0002.

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Roach, Joseph. "Performance: The Blunders of Orpheus." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 1078–86. http://dx.doi.org/10.1632/pmla.2010.125.4.1078.

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Thou shalt not sit With statisticians nor commit A social science.—W. H. Auden, Phi Beta Kappa PoemPerformance is an idea that became a field. For ideas to matter to the field of performance studies, however, they must take the form of action—a play, a rite, a dance, a game, a parade, an utterance. The action of performance may be practical or symbolic, but it is “always a doing or a thing done” (Diamond, Performance 1). In this essay, I assess the idea of performance, the field of performance studies, and their common relation to action by reopening the question of mimesis, the venerable doctrine that art imitates life. I also provide a preliminary sketch of a practical poetics of performance, defining it as Orphic (of or pertaining to the mythic figure of Orpheus). The action that the Orphic plot imitates—moving forward while glancing back—recapitulates the risky act of performance itself, for the performer typically feels the urge to look back, despite the prohibitions and costs, because performance always seems to be authorized by something prior, even when it isn't. Not restricted to dead Europeans or any other limited constituency, popular Orphism embraces all the lively arts, but it is most intensely concentrated in poetry meant to be spoken aloud, from Homer to hip-hop, and in lyric drama. “The story of Orpheus underlies every poem,” Susan Stewart writes in Poetry and the Fate of the Senses, and she might have added, “every performance”: bereft of Eurydice from the moment of his fatally forbidden turn, when he dooms her to be his inspiration, “he must attempt to fill her absence with compensatory song” (256). So Eurydice stands in for Orpheus, punished for his transgression, and he for her, making art out of her fate. Across the gulf of time and the river Styx, she prompts him, as he keeps looking back to her.

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MIZIOŁEK, JERZY. "ORPHEUS AND EURYDICE: THREE SPALLIERA PANELS BY JACOPO DEL SELLAIO." I Tatti Studies in the Italian Renaissance 12 (January 2009): 117–48. http://dx.doi.org/10.1086/its.12.27809573.

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Puchkov, Andrii. "Vasyl Stus’s Poem “Let Me about Sixth Today…”: Attempt of Orphean Spatial Analysis of One Dream." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 58–73. http://dx.doi.org/10.33608/0236-1477.2019.05.58-73.

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The paper presents an attempt to slowly read the poem by Vasyl Stus “Let me about sixth today…” (1975–1979) in order to identify connotative motifs of historical, cultural and subject-spatial nature. It is shown that the fixation of these motifs with the help of nouns (image), adjectives and verbs (motive) generates in the reader’s mind not so much an artistic space aimed at forming an “artistic image” as an architectonic space (plot) aimed at depicting the actions that cause (or subject to them) the semantic construction of the poem. The research methodology is based on the classical method of analyzing a poem, a comparative statistical one, which was proposed and developed by Boris Yarkho and Mikhail Gasparov. Counting nouns is carried out within such groups of them: objects; abstract concepts of the external world; abstract concepts of the inner world; appearance. The use of nouns made it possible to see that all concepts meaning things are subject to the compilation of a certain landscape or — more broadly — a space saturated with par excellence negative visual stimuli that one doesn’t want to notice. The figurative means of the poem that form spatial constructions and show temporal characteristics are indicated. The researcher explains the presence of the mythical motive of Orpheus and Eurydice, being characteristic for the creative consciousness of the poet. However, it looks like Stus changes the roles of Eurydice and Orpheus. In using the reverse perspective technique one should see Kyiv as a place of mythological events, akin to Hellenic, but, despite all the toponymic specifics, it lacks positive features: the anxiety of the myth about Eurydice is reflected here as well. The imprisonment of a hero is directly associated with the kingdom of Persephone and Hades. But the model is somewhat complicated: the reason of Orpheus’ anxiety in the ancient myth is somewhat obscure, while in the poem by Stus the hero really worries not so much about his beloved as due to eventual anxiety for his beloved, and therefore about her and her son.

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Pugh, Syrithe. "Orpheus and Eurydice in the Middle Books of The Faerie Queene." Spenser Studies 31-32 (January 2018): 1–41. http://dx.doi.org/10.1086/695570.

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Parmegiani, Sandra. "The Presence of Myth in Claudio Magris’s Postmillennial Narrative." Quaderni d'italianistica 32, no. 1 (December 6, 2011): 111–34. http://dx.doi.org/10.33137/q.i..v32i1.15937.

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This article addresses Magris’s appropriation of classical myth in his postmillennial narrative. Since his early works of literary criticism Magris explored the world of myth and the mythopoeic power of literature, but only in his postmillennial texts has he undertaken the writing of what John J. White defines as “mythological” narratives, in which he engages with the reuse and not the creation of myths. This article focuses on three works: La mostra (2001), Alla cieca (2005), and Lei dunque capirà (2006). It evaluates them as a cycle of closely connected mythological texts, built upon the intertextualization of: the myth of Alcestis, the myth of Jason and the Argonauts, and the myth of Orpheus and Eurydice. Magris’s postmodern investigation of individual and collective histories unveils their traumatic relationship to memory and the impossibility of their unequivocal and coherent representation. The monologue Lei dunque capirà is Magris’s most focused and comprehensive reworking of a classical myth in which a modern Eurydice retells from her standpoint the story of Orpheus’ descent to the underworld. The text is an investigation of myth from a feminist perspective and at the same time an exploration of the theme of love voiced with the mixture of judgment and understanding that only conjugal love allows.

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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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Matusevich, Alexander Petrovich. "Evolution of Alexander Zhurbin’s Musical Theatre: From “Orpheus and Eurydice” to “Love’s Metamorphoses”." Manuskript, no. 12 (December 2020): 184–89. http://dx.doi.org/10.30853/mns200556.

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Haitzinger, Nicole. "Staging and Embodiment of the Tragic in Pina Bausch's Orpheus and Eurydice (1975)." Congress on Research in Dance Conference Proceedings 2016 (2016): 191–97. http://dx.doi.org/10.1017/cor.2016.26.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?

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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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Appel, Anne Milano. "Mirror Images of Remembrance in Marisa Madieri’s La conchiglia and Claudio Magris’s Lei dunque capirà: A Translator’s Notes." Quaderni d'italianistica 32, no. 1 (December 6, 2011): 37–47. http://dx.doi.org/10.33137/q.i..v32i1.15933.

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A kind of parallelism is noted between Marisa Madieri’s short story La conchiglia and the novella Lei dunque capirà by Claudio Magris. In La conchiglia there is a she (Madieri the author) who writes in the voice of a he (the narrator and surviving spouse) who recalls another she (his deceased wife Naipuni) and their life together. A similar stratagem can be seen in Lei dunque capirà, though in the novella there is a he (Magris the author) who writes in the voice of a she (the narrator Eurydice) who talks about another he (her poet husband Orpheus) and their moments together. The lives reflected in these immagini speculari which mirror one another compose a kind of love song, one (the surviving spouse’s hymn) a simple tender one, the other (Eurydice’s song) no less devoted but more complex, knotty. Both songs are perhaps a projection of how the protagonists might have wanted to appear to the person they love. The parallel is not perfect, though in each case the projection compensates for a lost reality.

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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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Wójcik, Tomasz. "Apis mellifera (Rilke, Leśmian, Valéry, Miłosz)." Tekstualia 1, no. 52 (July 19, 2018): 101–6. http://dx.doi.org/10.5604/01.3001.0013.3132.

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The article concerns Paul Valéry’s sonet The Bee, a fragment of Rainer Maria Rilke’s letter to Witold Hulewicz, Boleslaw Lesmian’s poem The Bees and a fragment of Czeslaw Milosz’s poem Orpheus and Eurydice. The analysis of the semantic connotations and symbolic meanings of the bee, which appears in these texts, shows them as elements of a larger ontological project: an attempt to answer the question of the relation between being and non-being. In essence, this project denies the division into being and non- -being, proposing the concept of a greater whole instead the entrenched opposition.

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Chesnokova, E. V. "Interpretation of the myth about Orpheus and Eurydice in Dino Buzzati’s “Poema a fumetti”." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 3 (August 16, 2019): 354–61. http://dx.doi.org/10.29235/2524-2369-2019-64-3-354-361.

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Natal'ya, Bartosh. "Announcement of the book by Aram Asoyah “Semiotics of myth about Orpheus and Eurydice”." Ideas and Ideals 2, no. 2 (June 16, 2016): 172–76. http://dx.doi.org/10.17212/2075-0862-2016-2.2-172-176.

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Wallace, Andrew. "Placement, Gender, Pedagogy: Virgil's Fourth Georgic in Print*." Renaissance Quarterly 56, no. 2 (2003): 377–407. http://dx.doi.org/10.2307/1261851.

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AbstractThe article examines the narrative conclusion of the Georgics, in which the nymph Cyrene distills from Proteus' tale of Orpheus and Eurydice a set of practical instructions for her son to carry out. It argues that the tendency to minimize or ignore Cyrene's crucial role at the end of the poem is inseparable from Virgil's attempt to inspect the mechanics of instruction. Renaissance editors, commentators, and illustrators grappled uneasily with Virgil's attempt to make gender and placement integral components of Cyrene's pedagogy, and with the notion that successful instruction would culminate in a scene in which the teacher might still need to be present.

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Petrina, A. ""Aristeus Pastor Adamans": The Human Setting in Henryson's Orpheus and Eurydice and its Kinship with Poliziano's Fabula di Orpheo." Forum for Modern Language Studies 38, no. 4 (October 1, 2002): 382–95. http://dx.doi.org/10.1093/fmls/38.4.382.

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See, Truman. "Hear My Desire: Rachmaninov’s Orphic Voice and Musicology’s Trouble with Eurydice." 19th-Century Music 44, no. 3 (2021): 187–216. http://dx.doi.org/10.1525/ncm.2021.44.3.187.

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Stigmatized as kitsch, the music of Rachmaninov has largely been neglected by scholars. A reassessment has been made possible by recent historiography on late imperial Russia documenting the intelligentsia’s search for a messianic musician-bard, a role that several of Rachmaninov’s pre-revolutionary works take up, but not in the terms expected of them. Heard in relation to the Orpheus myth often invoked at the time, to the contemporaneous prevalence of psychoanalysis, and to the formal affinities between early modernist orchestral music and the unconscious, the music both assumes unforeseen significance and offers the possibility of a counterstatement to current musicological concerns with embodiment and presence. Amid these debates, Rachmaninov’s symphonic poem, Isle of the Dead (1909), emerges as an unexpectedly subversive work that sounds the futility of fin-de-siècle Russian utopianism while giving voice to an alternative, anti-metaphysical ethics. Meanwhile, the music points to a clandestine violence governing much of musicology’s ongoing fascination with the “drastic.” The resulting critique leads to the proposal of a reparative musicology capable of giving a sympathetic account of the cultural work of public mourning that Rachmaninov’s music performs in the concert hall today.

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Sword, Helen. "Orpheus and Eurydice in the Twentieth Century: Lawrence, H. D., and the Poetics of the Turn." Twentieth Century Literature 35, no. 4 (1989): 407. http://dx.doi.org/10.2307/441894.

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Gavrilov, Victor V. "The Motives of the Myth of Orpheus and Eurydice in Mikhail Bulgakov's The Master and Margarita." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 57 (February 1, 2019): 172–81. http://dx.doi.org/10.17223/19986645/57/10.

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Güçbilmez, Beliz. "An Uncanny Theatricality: the Representation of the Offstage." New Theatre Quarterly 23, no. 2 (May 2007): 152–60. http://dx.doi.org/10.1017/s0266464x07000059.

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In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

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Janan, Micaela. "The Book of Good Love? Design Versus Desire in Metamorphoses 10." Ramus 17, no. 2 (1988): 110–37. http://dx.doi.org/10.1017/s0048671x0000312x.

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Much attention has been paid recently to the role of individual narrators within the Metamorphoses. Whereas it was once considered adequate to attribute the characteristics of the poem solely to Ovid as narrator, a number of critics have now drawn correlations between the development of certain tales and the character of the narrators to whom they are attributed within the poem.Book 10 calls particular attention to itself in this regard. Orpheus is its primary narrator: after losing Eurydice to death for the second and final time, he composes a song that recalls ‘boys beloved by the gods and young girls struck by unsanctioned passion’ (10.152-54) which occupies the major portion of the book. However, the marked dissonance between Orpheus' announced program and what actually unfolds pricks the reader's curiosity. The bard's initial criteria for choosing material implicitly condemn female passion and celebrate pederasty — an understandable, if extreme, reaction on the part of a man who has just been badly hurt by his passion for a woman. But of the seven stories that follow, only two concern divine pederasty; one of these ends unhappily. The subject of a third tale (Venus' love for Adonis) radically stretches the sense of ‘boy-love’. A fourth tale — of Pygmalion and his statue — does not fit either category of love.

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ШУЛЬЦ, СЕРГЕЙ. "Мотивы древнегреческой мифологии в повести Гоголя Вий." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 171–83. http://dx.doi.org/10.1556/060.2019.64113.

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The facts of Gogol's appeal to the models of classical forms of myth and ritual are interesting not only by themselves but also in the aspect of their relationship with the arsenal of Christian mythology. The fundamental point here is that in light of the historical interpretation of the myth and the Revelation by F. W. J. Schelling, the mythology since its initial stage organically developed to Christianity, to the truths of Revelation (as the historical movement “flowed” into them). The symbolic complex of the story Vij, interlacing with Eros and Thanatos, allows parallels to the myth of Orpheus and Eurydice since in the case of the story Vij and in the case of myth, the motive of prohibition on sight also holds. The philosopher (i.e. the poet in the archaic and romantic notion) Homa Brut comes into contact with the world of death not of his own free will, besides, the panicle Eurydice died because of him. Orpheus partakes of the Dionysian sacraments. A visit to Orpheus of hell equated him, in Christian understanding, with Christ. In Gogol's story Vij, Dionysus and Christ have implicitly come together. The motive of the story Vij for blindness is related to Oedipus's self-blindness motive. Mythological Erinnes, persecuted by Oedipus, are old women, which correlates with one of the chthonic incarnations of the plaque, thereby drawing closer to the goddesses of revenge, punishment, and remorse of conscience. The fact of the final recognition of Oedipus as “holy” is reflected in the potential Christian semantics of the image of Homa as a martyr and passion-bearer. As the winner of the witch, the deliverer of people from her misfortunes and the passion bearer Homa is a Christian ascetic. Against the background of Christian parallels, the second stay of Homa on the farm becomes as if his “second coming”, symbolically comparable to the expected second coming of Christ, who is coming all the time. The terrible glance of Vij and pannochka certainly reminds of the slaying glance of Medusa Gorgon, which forced all living things to petrify. There is pathos of fighting tyranny in ridding the farm from the witch by Homa. Although Homa defends himself first of all in the beating scene, the general social meaning of his action is obvious. The power of the pannochka (she is the daughter of a wealthy sotnik), who for some reason considers himself pious, is not only socio-political but, in the main, existential-anthropological, this domination over man as a species, over man as such. The motives of ancient Greek and in general pagan mythology are closely intertwined in Gogol's story with Christian motives, which formed the unique spiritual and aesthetic synthesis of the story Vij.

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Doncu, Roxana Elena. "Postcolonial Myth in Salman Rushdie’s The Ground Beneath Her Feet." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 79–95. http://dx.doi.org/10.2478/abcsj-2013-0021.

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Abstract Postcolonial writers like Salman Rushdie often write back to the “empire” by appropriating myth and allegory. In The Ground beneath Her Feet, Rushdie rewrites the mythological story of Orpheus and Eurydice, using katabasis (the trope of the descent into Hell) to comment both on the situation of the postcolonial writer from a personal perspective and to attempt a redefinition of postcolonial migrant identity-formation. Hell has a symbolic function, pointing both to the external context of globalization and migration (which results in the characters’ disorientation) and to an interior space which can be interpreted either as a source of unrepressed energies and creativity (in a Romantic vein) or as the space of the abject (in the manner of Julia Kristeva). The article sets out to investigate the complex ways in which the Orphic myth and katabasis are employed to shed light on the psychology of the creative artist and on the reconfiguration of identity that becomes the task of the postcolonial migrant subject. The journey into the underworld functions simultaneously as an allegory of artistic creation and identity reconstruction.

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Stabro, Stanisław. "„U Kresu Drogi” – Czesław Miłosz Wiersze Ostatnie / ‘At the End of the Road’ From Czesław Miłosz ’s Last Poems." Ruch Literacki 53, no. 4-5 (July 1, 2012): 533–46. http://dx.doi.org/10.2478/v10273-012-0033-z.

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Summary Published in 2006, two years after the death of Czesław Miłosz, his volume Last Poems belongs to the late verse of great masters. Taken less literally, in Miłosz’s case this category may well include the poems of To [It] (2000), Druga przestrzeń [The Second Space] (2002) and Orfeuszi Eurydyka [Orpheus and Eurydice] (2002). The collection Last Poems brings together texts that highlight the author’s spiritual, artistic and biographical experience. Some of them extol the power of Eros, set against old age and existential motifs of human wretchedness; some are the product of autothematic reflection; and some more, which form an important group by itself, contain religious ideas and Miłosz’s own credo made ‘at the end of road’. Yet throughout that lyrical and confessional summing-up the tones of defeat and dissatisfaction, spiritual and personal pessimism, self-irony and distance get the better of iron certainty. Looking back at Miłosz’s achievement we may ask ourselves the question how it is going to stand the test of time, increasingly defined by postmodernity and rapid cultural changes. Or, to what extent his, essentially traditional, poetry and its message will hold its appeal to the future generations?

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Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?

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Eisner, John, and Alison Sharrock. "Re-Viewing Pygmalion." Ramus 20, no. 2 (1991): 149–82. http://dx.doi.org/10.1017/s0048671x00002745.

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On 5th February 1989, the review section of The Observer carried a full-page article on a film about Camille Claudel, the sculptress who was Rodin's mistress and who spent the last thirty years of her life in a mental asylum. The iconography of this page, supposedly concerned with the film and the woman, was telling. A large central image of Rodin, arms crossed and staring masterfully forward, is ringed by three, small, peripheral images of Claudel. Each is (of course) a photograph: one of the woman herself, one of the statue of her by her lover Rodin, and one of the actress who represents her in the film. The images display the slippage between women and artistic representations or creations (of women)—a slippage which is at the heart of the Pygmalion story. The title of the article is Love that turned to stone.In Metamorphoses 10.148-739, Ovid has the master-poet, Orpheus, react to the double loss of his wife, Eurydice, by singing to surrounding nature a set of tales, including that of Pygmalion (245-97). Pygmalion, it will be remembered, created a beautiful statue, with which he fell in love. With the help of Venus and in response to the artist's erotic attentions, the statue came to life.

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Moshtyleva, E. S. "Interaction of Narrative and Lyrical Principles in Texts of Contemporary Musical Performers." Nauchnyi dialog, no. 4 (April 21, 2021): 112–28. http://dx.doi.org/10.24224/2227-1295-2021-4-112-128.

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A comprehensive linguistic study of the functional features of the linguistic and communicative-pragmatic organization of narrative in text materials posted on the Internet platform is presented. Particular attention is paid to how the interpenetration of the narrative and lyrical principles occurs within one work. The material for the research was the text of the hip-hop opera “Orpheus & Eurydice” posted on the re-source “Yandex.Music”. A complex technique of interpretation of narrative strategies based on the methods of functional-stylistic, communicative-pragmatic and lexical-semantic analysis was used. The question is raised about the peculiarities of the functioning of the lyric text within the narrative and about their relationship. The role played by the mythologization of the narrative text is shown in the article. The novelty of the research is seen in the fact that the author describes the relationship be-tween narrative and lyricism in the work. The question of establishing the determinants of hip-hop narrative is raised. The structure of a narrative text with elements of lyricism is considered. The results of the analysis of the peculiarities of the linguistic embodiment of the narrators and actants are presented. The author dwells on the communicative-functional structure of the studied text, describing the specific functions of the narrative with fragments of lyricism. A model for determining the leading type of cognitive modeling (narrative or lyrics) through the functional and linguopragmatic study of the hip-hop text is proposed.

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Zhilicheva, G. A. "Orphic code and its roles in the metaplots of Post-Symbolist narratives." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 91–104. http://dx.doi.org/10.17223/18137083/73/6.

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The paper deals with the Orphic code of Russian Post-Symbolist prose, discussing the meta-poetical context of the immortal head motif and the plot situations of “a poet’s sacrifice” or “a poet in the underworld.” The Orphic code is viewed as correlating with an author’s reflec-tion of the interplay between the epic and the poetical in a work of prose. In Konstantin Vaginov’s novel The Goat Song, Orphic motifs punctuate the clash between the two narrative instances – the protagonist (a poet) and the narrator. Orpheus, finding himself in the new So-viet world, loses his abilities to change the world with his art, to descend into the underworld, and to charm its goddess. The motif of a failed rescue of Eurydice (i.e., the art) becomes prominent. In Boris Pasternak’s Doctor Zhivago, with the narrator and the lyrical persona having a dialogical relationship, the “Orphic code” provides an essential layer of the novel’s “intertextual palimpsest” (the Silver Age references) and becomes a way of reflecting on the unity of the epic and the lyrical. In Varlam Shalamov’s Kolyma Tales, the metaphor of the underworld becomes dominant, and the Orphic code serves as s a minus-priem, a semantic field that needs to be disavowed. A conclusion is made that the Orphic meta-plot typically in-volves a clash between the perspectives of an artist protagonist and a narrator, reflected both in the diegetic world (the “dying poet” motif) and in the narrative structure (the hybrid nature of the voices of both narrator and the protagonist).

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Köves-zulauf, Thomas. "Orpheus és Eurydiké." Antik Tanulmányok 51, no. 1 (June 1, 2007): 121–33. http://dx.doi.org/10.1556/anttan.51.2007.1.9.

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Maximova, Alexandra E. "On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 4–20. http://dx.doi.org/10.21638/spbu15.2021.101.

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The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.

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Theweleit, Klaus. "The Politics of Orpheus between Women, Hades, Political Power and the Media: Some Thoughts on the Configuration of the European Artist, Starting with the Figure of Gottfried Benn or: What Happens to Eurydice?" New German Critique, no. 36 (1985): 133. http://dx.doi.org/10.2307/488306.

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Ziolkowski, Theodore, and Klaus Theweleit. "Buch der Könige. 1: Orpheus (und) Eurydike." World Literature Today 63, no. 4 (1989): 679. http://dx.doi.org/10.2307/40145620.

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Journal articles on the topic 'Orpheus and Eurydice'

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