Academic literature on the topic 'Orpheus (Greek mythological character)'
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Journal articles on the topic "Orpheus (Greek mythological character)"
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Oltean, Tatiana. "Béla Bartόk Bluebeard’s Castle – a new Avatar of the Myth of Orpheus?" Musicology Papers 35, no. 1 (November 1, 2020): 52–64. http://dx.doi.org/10.47809/mp.2020.35.01.04.
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Ever since its Greek and Roman mythological and literary sources during Antiquity, the myth of Orpheus has been of paramount importance in the edification of the Artist as a key-character of understanding Music as magic and Love beyond death. Over the course of millennia, the myth has underwent numerous transformations, reflecting cultural and creative views of each period. Up to this day, the myth of Orpheus continues to allure composers` creative imagination. Within the modern and even postmodern tempestuous avatars of the myth in musical creation, the myth stays true to revealing the creator`s inner landscape, his/her reflective searching, and the nature of love between life and death. The current essay proposes a set of correlations between the essential motifs of this ancient myth and the symbols in Béla Bartók`s Bluebeard`s Castle, in a quest for answering the question whether this iconic opera of modernity could be understood, to some extent, as a new avatar of the Orpheus myth.
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McNamara, Charles. "Stoic Caricature in Lucian’s De astrologia: Verisimilitude As Comedy." Peitho. Examina Antiqua, no. 1(4) (June 3, 2014): 235–53. http://dx.doi.org/10.14746/pea.2013.1.11.
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The inclusion of De astrologia in the Lucianic corpus has been disputed for centuries since it appears to defend astrological practices that Lucian elsewhere undercuts. This paper argues for Lucian’s authorship by illustrating its masterful subversion of a captatio benevolentiae and subtle rejection of Stoic astrological practices. The narrator begins the text by blaming phony astrologers and their erroneous predictions for inciting others to “denounce the stars and hate astrology” (ἄστρων τε κατηγοροῦσιν καὶ αὐτὴν στρολογίην μισέουσιν, 2). The narrator assures readers that he, the knowledgeable astrologer, will correct for the “stupidity and laziness” (μαθίῃ καὶ ῥαθυμίῃ, ibid.) that bring about false predictions. The narrator’s credibility quickly decays when he attempts to recast Orpheus, Bellerophon, Icarus, Daedalus, and a host of other mythological figures as Greek astrologers. Lucian’s audience would expect such far-fetched interpretations of myth from the stereotypical Stoic philosopher, a character lampooned elsewhere in the Lucianic corpus.
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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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Draskóczy, Eszter. "A dantei Orpheus: egy makrotextuális modell." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 37–63. http://dx.doi.org/10.14232/antikren.2018.2.37-63.
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My paper focuses on the influence of an important descent-into-hell narratives of classical literature, the catabasis of Orpheus on Dante's journey through the other world. Dante, in his own confession, is familiar with the Ovidian myth of the Thracian poet, but he is undoubtedly influenced also by other elaborations and interpretations of the myth. One of the aims of this work is to present and explore these sources. The special feature of Orpheus is that he is both poet and traveller of the underworld, and in this quality he turns out an unique Greek-Roman mythological antecedent of Dante. The other purpose of my analysis is to examine Dante's attitude with the comparison of Dante's texts and their possible sources, while taking into consideration the 14th century commentaries to Dante which shed light to the intellectual horizon of the contemporary reader.
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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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Zagagi, Netta. "Mythological hyperboles and Plautus." Classical Quarterly 36, no. 1 (May 1986): 267. http://dx.doi.org/10.1017/s0009838800010776.
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In the first chapter of my book Tradition and Originality in Plautus: Studies of the Amatory Motifs in Plautine Comedy, I have expressed the view that mythological hyperboles in which the Comic character asserts his superiority in one respect or another to a mythological hero, far from being a product of Plautus' own imagination, as suggested by E. Fraenkel, are a specifically Greek element, adapted by Plautus from his originals. Here I should like to draw attention to one particular aspect of the pattern of thought in question, not dealt with in my book, which reinforces my argument and further underlines the traditional framework of which this pattern forms part.
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Orlyansky, Evgeny. "The main features of the economic ethics of European paganism." SHS Web of Conferences 101 (2021): 02003. http://dx.doi.org/10.1051/shsconf/202110102003.
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This article is devoted to the study of the main distinguishing features of the economic ethics of religious and mythological systems of the main ancient ethnic groups of Europe in the pagan era. The economic ethics of these systems is the very first foundation of the Christian economic ethics that dominated in the traditional market economy. It formed the basis for its development in ancient philosophy and, then, in Christianity. This economic ethics is most clearly expressed in ancient Greek mythology. But it is not limited to this, and its main features are also present in the religious and mythological systems of other European ethnic groups (Scandinavians, Celts, Balts, Slavs), which gives it the universal character.
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Franklin, John Curtis. "Lyre Gods of the Bronze Age Musical Koine." Journal of Ancient Near Eastern Religions 6, no. 1 (2006): 39–70. http://dx.doi.org/10.1163/156921206780602636.
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AbstractThat the Late Bronze Age cultural koine included a musical dimension is suggested by the Mesopotamian and Hurrian/Ugaritic musical tablets. This paper presents a selective survey and analysis of evidence for a parallel phenomenon, the deification of lyres/harps, which seemingly originated in late third millennium Mesopotamia and spread abroad in the second. Deified lyres are considered as both a ritual reality and an inducement to poetic elaboration by the same poetpriests who used them; much of the textual evidence thus represents remnants of a professional repertoire. At the same time, the motif also commonly centers on kingship, which is explained in terms of the dual office of priest-kingship; as such, there is some involvement of the deified lyre with the ritual of sacred marriage (hieros gamos). Relevant material comes from Ugarit and Cyprus, especially in the figure of Kinyras. In Greek evidence, 'lyre heroes' like Orpheus, Amphion, Cadmus and Linus are seen as late mythological derivatives of the pattern, Archaic survivals of Mycenaean ritual-poetics. Finally, Old Testament evidence for musical prophecy is considered in light of the foregoing.
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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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Khudenko, E. A. "PLOT «DEATH OF A YOUNG MAIDEN» IN THE POETICS OF SHORT STORIES BY I. A. BUNIN." Culture and Text, no. 43 (2020): 25–34. http://dx.doi.org/10.37386/2305-4077-2020-4-25-34.
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The article is devoted to the consideration of the plot scheme associated with the death of a girl at a young age – a plot that is quite common in Bunin poetics. The mythological and ritual-sacral etymology of the plot is transformed in Bunin’s poetics into an existential problem of searching for human freedom and its borders, and generates a philosophical opposition/identity «love and death». The ways of introducing the plot scheme and the types of the girl’s death are original – a certain effect of “estrangement” of the author is created, indicating a deep ontological contradiction between the beauty and sensuality of a female character and the tragic end of her fate. The heroine’s life and death is based on the model of the ancient Greek pnigos, and has the qualities of hyperbolized theatricality, but without the effect of catharsis. Thus, the ritual and mythological content of the plot scheme is problematized and filled with new meanings in Bunin’s poetics.
Books on the topic "Orpheus (Greek mythological character)"
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illustrator, Pinéro Frédéric 1979, and Salgar Restrepo, Jorge Eduardo, translator, eds. El invencible Hércules y sus doce trabajos. Bogotá D.C., Colombia: Panamericana Editorial, 2015.
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1956-, Parkinson David John, ed. The complete works. Kalamazoo: Medieval Institute Publications, Western Michigan University, 2008.
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Mythe, conte et enfance: Les écritures d'Orphée et de Cendrillon. Paris: Harmattan, 2010.
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Henryson, Robert. The poems of Robert Henryson. Kalamazoo, Mich: Medieval Institute Publications, 1997.
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Denton, Fox, ed. The poems. Oxford [Oxfordshire]: Clarendon Press, 1987.
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Heslin, Peter J. Propertius, Greek Myth, and Virgil. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199541577.001.0001.
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This book develops a new interpretation of Propertius’ use of Greek myth and of his relationship to Virgil, working out the implications of a revised relative dating of the two poets’ early works. It begins by examining from an intertextual perspective all of the mythological references in the first book of Propertius. Mythological allegory emerges as the vehicle for a polemic against Virgil over the question of which of them would be the standard-bearer for Alexandrian poetry at Rome. Virgil began the debate with elegy by creating a quasi-mythological figure out of Cornelius Gallus, and Propertius responded in kind: his Milanion, Hylas and several of his own Galluses respond primarily to Virgil’s Gallus. In the Georgics, Virgil’s Aristaeus and Orpheus are, in part, a response to Propertius; Propertius then responds in his second book via his own conception of Orpheus and Adonis. The polemic then took a different direction, in the light of Virgil’s announcement of his intention to write an epic for Octavian. Virgilian pastoral was no longer the antithesis of elegy, but its near neighbour. Propertius critiqued Virgil’s turn to epic in mythological terms throughout his second book, while also developing a new line of attack. Beginning in his second book and intensifying in his third, Propertius insinuated that Virgil’s epic in progress would turn out to be a tedious neo-Ennian annalistic epic on the military exploits of Augustus. In his fourth book, Propertius finally acknowledged the published Aeneid as a masterpiece; but by then Virgil’s death had brought an end to the fierce rivalry that had shaped Propertius’ career as a poet.
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Homer. Iliad. Digireads.com Publishing, 2021.
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Homer. Iliad. Independently Published, 2020.
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Homer. The Iliad. Standard Ebooks, 2020.
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Homer. Iliad. Digireads.com Publishing, 2021.
Find full textBook chapters on the topic "Orpheus (Greek mythological character)"
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Østermark-Johansen, Lene. "Character and Caricature." In Walter Pater's European Imagination, 158—C4.F13. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.003.0005.
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Abstract The chapter discusses how Pater conceives of and constructs character. It adopts a prismatic approach, stressing parallels between the portraits, tragedy, and the character study, placing Pater in dialogue with Euripides, Philostratus, and Theophrastus. As Pater aestheticizes classical tragedy, he recreates Euripides’ Bacchae in ‘Denys l’Auxerrois’ and rewrites his fragmentary Hippolytus play. Philostratus’ Imagines serve as likely intertexts for Pater’s mythological portraits, as they employ the ekphrastic form of the short prose narrative in a transformation of the plots and characters of Greek tragedy into brief descriptions of paintings. The Theophrastan Characters form counterparts to Philostratus’ Imagines: a short, isolated form, centring on the individual, arranged in a sequence which may be rearranged, like the portraits in a picture gallery. The fluid boundaries between character and caricature are explored with the underlying argument that some of Pater’s own emotional detachment from his characters, often expressed through ironizing narrators, derives from his need to respond to the criticism of his style, person, and ideas. The chapter makes a case study of Rothenstein’ s Oxford Characters which includes a portrait of Pater and Pater’s character sketch of Frederick Bussell. Oxford Characters addresses the essence of Oxford life, implicitly asking what an Oxford character is. The Paterian educator becomes a recognizable type who speaks Pateresque and holds aesthetic ideals, most of which can be traced back to misreadings of The Renaissance. A subversive form, parody dissolves boundaries between one author and another, questioning our ideas about the integrity of personality and artistic product.
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"Commentary." In Sophocles: Oedipus Tyrannus, edited by Jenny March, 163–314. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622546.003.0003.
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The commentary seeks to elucidate and explain the background and the significance of every line of this text. It is based on the translation of the play rather than the ancient Greek text. It gives the reader sufficient information to understand historical, mythological and literary references, while also directing readers towards other sources of information and alternative viewpoints. The role of the gods, Oedipus’ character and his relationship with the people of Thebes are explored. Above all, the commentary seeks to show the poetic power and skill of Sophocles’ writing, as he inexorably builds dramatic tension towards Oedipus’ realisation of that which the audience already knows: his terrible fate.