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Books on the topic 'Orpheus (Greek mythological character)'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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2

1956-, Parkinson David John, ed. The complete works. Kalamazoo: Medieval Institute Publications, Western Michigan University, 2008.

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3

Mythe, conte et enfance: Les écritures d'Orphée et de Cendrillon. Paris: Harmattan, 2010.

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4

Henryson, Robert. The poems of Robert Henryson. Kalamazoo, Mich: Medieval Institute Publications, 1997.

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5

Denton, Fox, ed. The poems. Oxford [Oxfordshire]: Clarendon Press, 1987.

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6

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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7

Homer. Iliad. Digireads.com Publishing, 2021.

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8

Homer. Iliad. Independently Published, 2020.

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9

Homer. The Iliad. Standard Ebooks, 2020.

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10

Homer. Iliad. Digireads.com Publishing, 2021.

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11

Homer. Iliad. Book Sales, Incorporated, 2022.

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12

Homer. Iliad. Digireads.com Publishing, 2021.

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13

Homer. Iliad: With Classic Annotated. Independently Published, 2022.

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14

Homer. The Iliad. Sanage Publishing House, 2021.

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15

Iliad. Digireads.com Publishing, 2021.

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16

Homer. Iliad: With Original Annotation. Independently Published, 2022.

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17

Pope, Alexander Alexander, and Homer. Iliad: Happy Halloween. Independently Published, 2021.

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18

Homer. Iliad. Doherty Associates, LLC, Tom, 2015.

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19

Homer. Iliad. Arcturus Publishing, 2022.

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20

Homer. Iliad. Dover Publications, Incorporated, 2012.

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21

Homer. Iliad. Independently Published, 2021.

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22

Homer. Odyssey: A Stage Version. Farrar, Straus & Giroux, 2014.

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23

Homer. Odyssey. Sterling Publishing Co., Inc., 2022.

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24

Odyssey. Independently Published, 2021.

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25

Homer. Odyssey. Independently Published, 2021.

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26

Homer. The Odyssey. Ryerson Pressbooks, 2022.

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27

Homer. Odyssey. Arcturus Publishing, 2022.

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28

Homer. Odyssey. Independently Published, 2020.

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29

Homer. Odyssey: With Classic Annotated. Independently Published, 2022.

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30

Homer. Odyssey. Doherty Associates, LLC, Tom, 2005.

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31

Homer. The Odyssey. Standard Ebooks, 2020.

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32

Henryson, Robert. The Poems of Robert Henryson. Oxford University Press, USA, 1987.

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33

Brown, Frank Burch. Music. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0012.

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Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches of religious studies, particularly theology and comparative religions. This essay deals with historical perspectives, major theories, and current issues regarding music, emotion, and religion. It begins by considering classic and exceptionally enduring images and ideas of music, including the ancient Greek myth of Orpheus. It then considers musical ethics and metaphysics in the West from antiquity through the Renaissance. The essay also examines remaining issues and unresolved tensions about music, emotion, and religion.

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