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Articoli di riviste sul tema "Fauns (Roman mythology) in literature"
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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox". Ramus 41, n. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.
Testo completoAbstract (sommario):
It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.
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Klauck, H.-J. "Accuser, Judge and Paraclete - On conscience in Philo of Alexandria". Verbum et Ecclesia 20, n. 1 (6 agosto 1999): 107–18. http://dx.doi.org/10.4102/ve.v20i1.1169.
Testo completoAbstract (sommario):
Of all known ancient authors writing in Greek, Philo of Alexandria is the one and related terms and concepts (the apostle Paul comes next, more or less). Something similar may only be found in Latin authors speaking of conscientia, like Cicero. This needs an explanation. After discussing some relevant passages from Philo's writings, with special stress on the texts from scriptures exposed by him, analogies in wisdom literature and in Graeco-Roman rhetoric and mythology are indicated. The following solution is proposed: Philo combines the punishing Furies (cf Cicero) and the benevolent guardian spirit (c. Seneca) of Graeco-Roman mythology and philosophy with the personified reproof from Jewish Wisdom literature, and so he creates a concept that helps him to give a visual description of the strict but nevertheless kind guidance God practices on man.
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Wróblewska, Violetta. "Taming Monsters…". Literatura Ludowa 67, n. 1-2 (30 giugno 2023): 185–92. http://dx.doi.org/10.12775/ll.1.2023.013.
Testo completoAbstract (sommario):
Review: Anna Mik, Signs of Exclusion. Monsters Inspired by Greek and Roman Mythology as Symbols of Rejected Minorities in Literature, Film, and TV-Series for Children and Young Adults: From Mid-20th Until Early 21st Century, Wydawnictwo DiG, Warszawa 2022.
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Fan, Jia, e Sun Yu. "The Application of Greco-Roman Mythology Learning in English Vocabulary Teaching from the Perspective of Etymology". International Journal of Languages, Literature and Linguistics 7, n. 1 (marzo 2021): 38–43. http://dx.doi.org/10.18178/ijlll.2021.7.1.284.
Testo completoAbstract (sommario):
Language is the carrier of culture and culture nourishes language. According to statistics, 56% of the commonly used 10,000 English words are adopted from Latin and ancient Greek, which are the carrier languages of Roman civilization and Greek civilization respectively. Greco-Roman mythology, with its rich cultural connotation, permeates all aspects of people's social life in English-speaking countries and becomes a source of vitality for the expansion of English vocabulary. Etymology, the scientific study of the origin of words, is crucial in English vocabulary teaching, as etymological study improves vocabulary learning. This paper adopts the methodology of literature research to gather materials about English vocabulary teaching methods, etymology theory, and Greco-Roman mythological origin of English vocabulary. In order to better explain the cultural connotation of words in English vocabulary teaching, this paper proposes method of applying Greco-Roman mythology learning in English vocabulary teaching, and classifies English vocabulary into four forms according to etymological motivation: direct use, metaphorical use, semantic transfer and derivation from the perspective of Greco-Roman mythological origin, thus stimulating English learners' interest and improving the efficiency of both teaching and learning.
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Fan, Zixuan. "The Interplay among Mythology, Culture, and the English Language". Lecture Notes in Education Psychology and Public Media 43, n. 1 (14 marzo 2024): 165–71. http://dx.doi.org/10.54254/2753-7048/43/20240847.
Testo completoAbstract (sommario):
Mythology refers to traditional stories often involving gods and heroes. Many of these tales have been widely popularized, and in turn, have been found to be of high significance in investigating the evolution of the English language and culture. As mythologies are often passed down through cultures, these tales heavily influence modern traditions and beliefs. They also play an important role in the evolution and development of certain languages. This paper discusses the relationship between mythology, language, and culture through the help of a comparative analysis of mythologies, vocabularies, literary works, and traditions regarding death. The analysis reveals that many English words and phrases originate from Greek and Roman mythology, and that an individual's belief is closely connected to the mythology of the culture they grew up in. This, in turn, proves that mythology cannot be ignored when investigating language and culture, and that an understanding of mythological tales will allow individuals to better appreciate both literature and cultural traditions.
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Vuković, Krešimir. "Rome Fellowships: The mythology of the Tiber in Roman space and literature". Papers of the British School at Rome 86 (ottobre 2018): 347–48. http://dx.doi.org/10.1017/s0068246218000235.
Testo completo
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Rekutina. "MYTHOLOGY AND REALITY OF OLYMPIC AGON OF ANCIENT GREECE IN THE ROMAN ERA". SCIENCE AND SPORT: current trends 8, n. 2 (1 giugno 2020): 44–51. http://dx.doi.org/10.36028/2308-8826-2020-8-2-44-51.
Testo completoAbstract (sommario):
The aim of the research: to identify changes in the nature of relationship between mythological, religious and social aspects in the sphere of agonistics in Ancient Greece in the Roman Era. Methods and research: Analysis of literature and written sources on the history of ancient agonistics. The result of the study is the determination of the specific traits of agonal traditions of Ancient Greece and Ancient Rome. The article explores the sacral and secular aspects of the traditions and rules of antique agon. The Author shows a change in their ratio in Ancient Greece in the Roman Era. The paper focuses on the process of transformation of the sacral and secular content of agonistics and a variety of agon in Ancient Greece in the Roman Era, which is characterized by the clash of Hellenic and Roman agonal traditions. One of the most significant phenomena in the ideological life of that period was the cult of the Emperor, which was the official political religion of the Roman Empire. The Emperor’s cult with agon as one of the rituals became widespread in the western and eastern provinces including Greece. Greece had the status of "Achaea Roman Province" at that time. The Author describes the events that took place in Olympia and other religious centers of Ancient Greece at that time. Conclusion: Agonist features of the period were determined by changing the ratio of religious and social components of agonistics and transforming agony as a religious ritual into a spectacle that was widely used for political purposes.
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SAĞLAM CAN, Esengül. "Mythology as a Literary Source in Ahmet Midhat Efendi's Taaffüf Novel". Edebî Eleştiri Dergisi 6, n. 2 (25 ottobre 2022): 116–25. http://dx.doi.org/10.31465/eeder.1073243.
Testo completoAbstract (sommario):
Ahmet Midhat Efendi, one of the versatile writers of Turkish literature, saw mythology as a spring that feeds literary works and drew attention to the importance of mythology in the series of articles he wrote in periodicals. In his novel Taaffüf, which was published as a book in 1895, the author preferred the method of telling the conflict of the heroine (Sâniha) with ancient representations and tried to exemplify how mythology can be used in the novel genre. In the novel, the heroine's struggle in her married life is told through two characters of Roman mythology. Sâniha's this struggle between being chaste and not being chaste is also considered as a global issue and was associated with the opposition between Venus and Minerva. Sâniha, who obtained knowledge of painting, sculpture and mythology through Râsih, who is the voice of the author, re-established the balance of love and loyalty in marriage, not as dysfunctional decorations in the novel, but as Minerva's victory in the struggle between Venus and Minerva, which gained importance as two opposite points of the fundamental conflict. The study aims to analyse how the author includes mythology in the narrative and the ways of constructing the thought in the novel of Taaffüf, which is a projection of Ahmet Midhat Efendi's views on mythology.
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Brian D. McPhee. "Walk, Don't Run: Jesus's Water Walking Is Unparalleled in Greco-Roman Mythology". Journal of Biblical Literature 135, n. 4 (2016): 763. http://dx.doi.org/10.15699/jbl.1354.2016.3084.
Testo completo
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Wardle, D. "BABY STEPS FOR OCTAVIAN: 44 B.C.?" Classical Quarterly 68, n. 1 (maggio 2018): 178–91. http://dx.doi.org/10.1017/s0009838818000277.
Testo completoAbstract (sommario):
Historians of antiquity are trained to be suspicious of accounts that may retroject onto the early years of figures, who were later dominant, positive traits that plausibly were exhibited only later, in essence the creation of a mythology. In the case of the Emperor Augustus, who exercised a firm control on the Roman world for over forty years after the defeat of his rival M. Antonius and introduced a new form of government, the probability that the years of his ascent to supreme power were subjected to careful recasting is very high. Here I examine an argument that was presented in 2004 on the very beginning of Octavian's public life, which, if correct, reveals a stuttering start by a young man inexperienced in the realities of Roman politics at a tumultuous moment in Roman history.
Tesi sul tema "Fauns (Roman mythology) in literature"
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Riddiford, Alexander. "The reception of graeco-roman literature and mythology in the works of Michael Madhusudan Datta (1824-873), the bengali poet and playwright". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530069.
Testo completo
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Broze, Michèle. "Les aventures d'Horus et Seth dans le papyrus Chester Beatty I: approche stylistique d'un roman mythologique de l'époque ramesside". Doctoral thesis, Universite Libre de Bruxelles, 1992. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212953.
Testo completo
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Topan, Juliana de Souza. "O "Sitio do Picapau Amarelo da Antiguidade" : singularidades das Grecias lobatianas". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252452.
Testo completoAbstract (sommario):
Orientador : Joaquim Brasil Fortes JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: As primeiras adaptações de mitos gregos em obras destinadas a crianças e jovens, escritas e publicadas no Brasil, datam do início do século XX, em que Monteiro Lobato, autor considerado como um dos fundadores de nossa literatura infanto-juvenil, teve uma importante contribuição. Com a publicação de "O Minoutauro" (1939) e "Os doze trabalhos de Hércules" (1944), Lobato apresenta uma imagem da Grécia Antiga (em especial, do século V a. C., conhecido como "século de Péricles") e da Grécia Arcaica (que ele chama de "Heróica", por ser onde localiza os grandes feitos de heróis guerreiros, como Hércules). Nessas obras, chamanos a atenção a maneira como o autor se apropria da chamada "mitologia grega" - subvertendo, muitas vezes, a versão canônica, re-inventando narrativas, adaptando-as ao público mirim e apresentando uma imagem idealizada da cultura grega antiga e arcaica. Nesse sentido, Lobato revela suas influências de autores franceses, como Ernest Renan e Anatole France, e do filósofo e historiador Will Durant, ao reforçar, em suas obras, a idéia do "milagre grego". Além disso, constrói singularmente a figura do herói Hércules, como um homem bruto em modos e inteligência, mas dotado de grande sentimentalidade. Isso nos faz refletir sobre os diversos modelos de narrativa heróica, em especial, dos heróis grego arcaico (típico da narrativa épica) e europeu moderno (típico da narrativa romanesca)
Abstract: The first adaptations of Greek myths in books for children and young readers, written and published in Brazil, are dated back to the beginning of 20th century. Monteiro Lobato, writer known as one of the founders of our literature for young people, had an important contribution to these first adaptations. By publishing O Minotauro (The Minotaur), in 1939, and Os doze trabalhos de Hércules (The twelve trials of Hercules) in 1944, Lobato portraits na image of Ancient Greece (especially of the 5th century B. C., called â?¿Age of Periclesâ??) as well as Archaic Greece (which was called "Heroic" by Lobato, for being the period in which the great acts of heroes, like Hercules, took place). In these books, the way in which the writer makes use of the so-called Greek mythology attracts our attention â?¿ sometimes subverting the canonical version, reinventing narratives, adapting them to the young public and presenting na idealized image of the ancient and archaic Greek culture. In this way, Lobato reveals his influences of French writers, like Ernest Renan and Anatole France, and the philosopher and historian Will Durant, by reinforcing in his books, the idea of the "Greek miracle". Moreover, he singularly constructs the image of the hero Hercules, as a rude man, not only in his manners, but also in his intelligence, but endowed with great sentimentality. This causes us to reflect upon the various models of heroic narratives, especially of the archaic Greek heroes (typical in epic narratives) and modern European (typical in roman narratives) ones
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Hincapié, Giraldo Leonardo. "Yseut et Wîs : une lecture junguienne des personnages féminins dans Le Roman de Wîs et Râmîn et dans les romans de Tristan". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030114.
Testo completoAbstract (sommario):
Cette étude envisage de mettre en parallèle deux personnages féminins (Yseut et Wîs) issus de plusieurs récits médiévaux : les romans de Tristan et Le roman de Wîs et Râmîn. Ces personnages seront analysés sous l’optique de la théorie junguienne des archétypes et de l’Inconscient collectif. Le postulat de base sera donc de considérer que le même principe archétypique est à l’arrière-plan des deux personnages : le Féminin archétypique. Yseut et Wîs font partie de récits qui ont pour origine la mythologie celtique, pour la première, et la mythologie persane, pour la deuxième. A partir de ce constat, on peut voir comment l’élaboration des deux personnages est redevable d’autres images mythiques de la Féminité et de la Femme dans les contextes culturel et mythologique qui entourent chaque récit. Que savons-nous à vrai dire des héroïnes de ces histoires, de leur fonction et de leur rôle dans la construction de ces récits qui les mettent en scène? Retracer cette élaboration qui va de la mythologie à la littérature, repérer les échos des contes folkloriques et populaires qui résonnent encore dans les récits tels que nous les connaissons aujourd’hui, tels sont deux des objectifs primordiaux de cette étude. Une analyse des deux personnages féminins, en tant que symboles d’un même archétype, nous permettra de comparer la dynamique à l’égard du Feminin archétypique dans les deux productions littéraires, ainsi que de repérer leur rôle narratif dans les dénouments si différents des deux histoires. Yseut et Wîs seraient donc les cristallisations d’un imaginaire collectif autour de la Femme et de la Féminité. Elles sont apparues dans deux cultures différentes, à une même époque de l’histoire : le Moyen ÂgeIn this work we will be comparing two feminine characters (Iseult and Vis) from several medieval stories: the romances of Tristan and the romance of Vis and Ramin. These characters will be analyzed using Jungian theory about archetypes and Collective Unconscious. Our basic premise considers that the same archetypal principle drives the two characters: The Archetypal Feminine. We know that the characters of Iseult and Vis belong to stories whose origins are mythological: Celtic origins for the heroine of Tristan romances and Persian origins for the heroine of Gorgani’s romance. Based on this, one can see how the drawing up of these two characters owes much to other mythical images of Femininity and Woman, in the cultural and mythological context of each literary work. What do we truly know and understand about the heroines of these important stories? What do we truly know and understand about their function and their role in the plot of these romances? This work holds two objectives related to these questions. One, to trace the drawing up of the characters from mythology to literature. The other, to identify the echoes of folktales and traditional literature which resonate in these stories even today. Analyzing these two characters as symbols of the same archetype, can allow us to compare the dynamic of the Archetypal Feminine into these literary works, and to identify their narrative function in the two different outcomes of the stories. Iseult and Vis would be then the crystallizations of a collective image about Woman and Femininity. They appeared in two different cultures, at the same moment of history: The Middle Ages
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Romaggi-Trautmann, Magali. "La figure de Narcisse dans la littérature et la pensée médiévales". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2143/document.
Testo completoAbstract (sommario):
Les mythes grecs « font signe sans signifier, montrant, dérobant, toujours limpides disant le mystère transparent, le mystère de la transparence1 ». Maurice Blanchot dans cette remarque met en valeur le mystère inhérent à tout mythe. Il en va ainsi pour le mythe de Narcisse qui a connu un succès considérable à l’époque médiévale mais dont il n’est pas aisé de fixer un sens stable. C’est de la version du célèbre poète de l’époque augustéenne, Ovide, que les auteurs médiévaux ont hérité. La richesse de la légende, conférée par les nombreux ajouts d’Ovide, leur a permis de déployer à leur tour de nombreux sens nouveaux.Narcisse est avant tout perçu comme figure amoureuse. Narcisse est l’amant malheureux qui souffre d’une passion si forte qu’il finit par en mourir. L’objet de l’amour de Narcisse est bien souvent tu et oublié dans les reprises médiévales. Peu importe finalement qu’il ait aimé une ombre, l’accent est mis sur l’intensité de son amour et surtout sur ses funestes conséquences. La passion entraîne Narcisse sur le chemin de la mort : mort de l’esprit sous le coup de la folie et mort physique. Narcisse a été un objet de choix pour la poésie de la fin’amor. Troubadours et trouvères ont réélaboré la figure de Narcisse en parfait représentant du fin amant entre les XIIe et XIIIe siècles. Par ailleurs, la figure de Narcisse entretient des liens étroits avec les représentations du mélancolique, issues des théories psychophysiologiques sur l’amour de la philosophie et de la médecine.Le mythe a également inspiré des lectures morales. En effet, tout un pan des reprises du mythe – le pan chrétien – dévoile Narcisse sous les traits d’un pécheur entaché de défauts. L’orgueil dont il fait preuve est dans la conception chrétienne laracine de tous les maux ; ce vice engendre la vanité et l’arrogance. De la fin du XIIe au XIVe siècles, les clercs font de Narcisse l’incarnation parfaite de tous ces défauts. Selon la perspective adoptée la condamnation change légèrement mais l’idée reste lamême : Narcisse est imbu de sa propre personne et en tire une satisfaction trop haute.Enfin l’eau de la source, l’un des motifs essentiels du mythe de Narcisse, a été le point de convergence de plusieurs traditions qui ont fini par s’entremêler dans les œuvres médiévales : le motif biblique de l’eau d’un côté, de l’autre les conceptions néoplatoniciennes sur le reflet et le mythe antique de Narcisse. Un réseau d’images similaires irrigue ces traditions, constitué de l’eau claire, du reflet et de la fontaine. Le "fons" antique s’est peu à peu métamorphosé en fontaine médiévale jusqu’à devenir véritable miroir. Le motif du miroir s’autonomise peu à peu par rapport à la surface des eaux. La dimension fantasmatique de l’amour de Narcisse pour son reflet s’amplifie nettement. Se voir soi-même dans un miroir constitue une expérience étrange où l’individu touche au secret de son être. Incapable de l’atteindre réellement, il voit son intimité se dérober à lui, ce qui provoque son désenchantement. Le miroir, véritable porte d’entrée sur le rêve, est un motif idéal pour figurer tous les possibles de l’acte d’écriture. C’est pourquoi certaines reprises médiévales offrent l’utopie d’un amour partagé tandis que d’autres préfèrent peindreles travers de l’être humain. Le miroir enfin se fait métaphore de l’écriture ellemême. La présence de Narcisse se réalise sous des formes plus ou moins implicites dans ces œuvres dont la portée réflexive est actualisée par le motif du miroirGreek myths « font signe sans signifier, montrant, dérobant, toujours limpides disant le mystère transparent, le mystère de la transparence2 ». With these words, Maurice Blanchot insists on the very mystery of all myth. It is also the case for the myth of the Narcissus that has known a considerable success in the medieval time but for which it is difficult to … a stable meaning. It is the famous Augustinian poet Ovidius myth that the medieval authors inherited. They added new meanings to the already rich legend, following the footsteps of Ovidius.Narcissus is foremost a figure in love. Narcissus is the unfortunate lover who suffers such a strong passion he dies from it. What he is in love with can be ignored in the medieval versions. Even if he loved a shadow, it is the intensity of his love and the funest consequences the texts insist on. Passion drives Narcissus on the road to death : spiritual death because of Madness et physical death. Narcissus was a prime subject for fin’amor poetry. Troubadours and trouveres made of Narcissus the perfect example of the fin amant between the XIIth and XIIIth centuries. Moreover Narcissus is the deeply linked to the representation of the melancholic that came from the psycho-physiological philosophical and medical theories of love.Moral Reading were also inspired by the myth. Indeed, Narcissus becomes a sinner full of flaws Under the Christian vision of the myth. Pride is the origin of all the flaws: vanity and arrogance are direct consequences. Narcissus becomes the perfect incarnation of these sins. Depending of the point of view the condemnation may vary but the idea is still the same: Narcissus is self-important and is too pleased with himself. Finally the water from the source, one of the most important aspect of the Narcissus mythology, became the meeting point of several traditions which interlaced in the medieval work: biblical water on one side and neoplatonician conceptions of reflection and ancient myth of Narcissus. The ancient fons transforms itself into a medieval fountain and a true mirror. The mirror becomes more and more independent from the surface of water. The phantasmatical dimension of the Narcissus love for his reflection is developed
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Morais, Guilherme Augusto Louzada Ferreira de. "A representação do modelo de herói clássico na personagem feminina Katniss Everdeen, de "Jogos vorazes" /". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152788.
Testo completoAbstract (sommario):
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série.
The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series.
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Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
Testo completoAbstract (sommario):
This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
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Dixon, Dustin W. "Myth-making in Greek and Roman comedy". Thesis, 2015. https://hdl.handle.net/2144/16320.
Testo completoAbstract (sommario):
Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, supplemented by Plautus' Amphitruo (the only nearly complete mythological comedy), vase-paintings, and ancient testimonia, shed light on the vibrant tradition of comic mythology.
In chapter one, I argue that ancient scholars' and prose mythographers' citations of comedies invite us to view comedians as authoritative myth-makers. I then survey the development of mythological comedy throughout the fifth and fourth centuries BCE. The plays' titles reveal common mythical topics as well as a number of comic myths that survived independent of the tragic tradition. In chapter two, I argue that Cratinus' Dionysalexandros and Epicharmus' Odysseus the Deserter are wildly innovative comedies that challenge previous accounts for mythological authority. In chapter three, Epicharmus' Pyrrha and Prometheus, Pherecrates' Antmen, and Cratinus' Wealth Gods are studied to show how comedians created new stories by fusing myths together and by combining myth and historical reality. In chapter four, I look at the affairs of Zeus to show the dramatists' different approaches to the same mythical material. While tragedians tend to focus on the suffering of Zeus' victims, comedians feature Zeus' humorously outlandish and usually harmless seductions. In chapter five, on the Amphitruo, I show how Plautus has transformed a myth about the birth of Heracles into a story about Jupiter's long-term affair with a pregnant woman. In chapter six, I enter the debate about comedy's influence on tragedy and argue that mythical variants invented by the comic poet Cratinus have been incorporated into Euripides' Trojan Women and Helen, which demonstrates that, as early as the fifth century, comic poets were seen as mythological authorities.2017-06-30T00:00:00Z
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Ukize, Servilien. "La lecture intertextuelle de L'ivrogne dans la brousse d'Amos Tutuola". Thèse, 2009. http://hdl.handle.net/1866/7277.
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Marchand, Déric. "Moïse Moïse ; suivi de Au nom de nous qui ne sommes pas". Thèse, 2018. http://hdl.handle.net/1866/22002.
Testo completoLibri sul tema "Fauns (Roman mythology) in literature"
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France), Musée Fleury (Lodève, a cura di. Faune, fais-moi peur!: Images du faune de l'Antiquité à Picasso. Cinisello Balsamo, Milano: Silvana editoriale, 2018.
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Nardo, Don. Roman mythology. Detroit: Lucent Books, 2012.
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Nardo, Don. Roman mythology. Detroit: Lucent Books, 2012.
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Kamara, Peter. Ancient Roman mythology. London: Sunburst Books, 1996.
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Kamara, Peter. Ancient Roman mythology. London: Promotional Repr. Co, 1996.
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Nardo, Don. Greek and Roman mythology. San Diego, CA: Lucent Books, 1998.
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Fiona, Sansom, a cura di. Roman myths. 2a ed. London: Franklin Watts, 2012.
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Kathy, Elgin. Roman myths. New York: Skyview Books, 2009.
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Kathy, Elgin. Roman myths. Vero Beach, FL: Rourke Pub., 2009.
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Masters, Anthony. Roman myths. New York: P. Bedrick Books, 1999.
Cerca il testo completoCapitoli di libri sul tema "Fauns (Roman mythology) in literature"
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Dufal, Blaise. "Nicholas Trevet : le théologien anglais qui parlait à l’oreille des Italiens". In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo), 87–103. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.08.
Testo completoAbstract (sommario):
The commentaries composed by the English theologian Nicholas Trevet at the beginning of the fourteenth century not only bear witness to his connections with Santa Maria Novella. They also testify to the importance of his contribution to the transfer of knowledge about Antiquity and the rebirth of antiquarianism in the Italian peninsula. This essay argues that Trevet’s Scholastic commentaries, presented as an expositio, met the need that Italian intellectuals had of a fuller understanding of classic literature, pagan mythology and Roman history.
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Cameron, Alan. "Myth and Society". In Greek Mythography in the Roman World, 217–52. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195171211.003.0009.
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Abstract What is the relevance or importance of Greek mythology in the vast world of the Roman empire? Moderns are understandably drawn to the way Roman poets and artists make use of particular myths: the vogue (for example) for the myth of the Golden Age in Catullus, Vergil, and Horace; the political exploitation of the gigantomachy myth for the victories of the princeps; more generally, the use of myth as source of imagery and exemplarity; or myth as allegory (whether physical, spiritual, or moral) in the essayists and philosophers; the development of certain mythical figures through different ages and literatures (the Ulysses theme, the Heracles theme, and so on); the sometimes puzzling myths chosen to decorate Roman sarcophagi. I myself have long been fascinated by the extraordinary vogue for the childhood rather than manhood of Achilles in the literature and (above all) art of the empire. No less intriguing in a different way is the negative attraction the old myths held for early Christians, who insisted on taking them literally, so that they could attack pagans for having unworthy gods (adulterers, parricides, crybabies). Obviously this can be seen as a sort of perverse tribute to their continuing power.
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Michalopoulos, Andreas N. "A Phrygian Tale of Love and Revenge: Oenone Paridi (Ovid Heroides 5)". In Revenge and Gender in Classical, Medieval and Renaissance Literature, 239–50. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0013.
Testo completoAbstract (sommario):
This chapter explores how lamentation operates as a covert means of revenge in Ovid’s Heroides, a collection of fictional epistolary poems written as though by women from Greek and Roman mythology to the lovers who abandoned and mistreated them. It interprets the fifth letter, in which the nymph Oenone writes to Paris, her former lover, as a letter of revenge that expresses Oenone’s frustration and anger. Ovid’s language and imagery alludes to events that await Paris in the dramatic future of the letter, hinting at her revenge to come. Countering the view that the female speakers of the Heroides offer a consistent view of women as pathetic and passive victims, the chapter thus shows how Ovid’s female letter-writers can exploit socially prized roles as a means of expressing their anger and preparing for vengeful action.
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Francese, Christopher. "Parthenius, Erotika Pathemata". In The Oxford Handbook of Greek and Roman Mythography, 282—C21.P55. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.22.
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Abstract Erotika Pathemata (“Disastrous Love Stories”) is a prose collection dating to the 40s or 30s bce. The author, Parthenius of Nicaea, was a Greek poet from Asia Minor, taken captive in Roman wars but freed because of his learning. He collaborated with Roman authors, including Vergil, and dedicated this work to the poet Cornelius Gallus. The stories, rewritten from various local Greek chroniclers and Peripatetic philosophers, run the gamut from mythological to semi-historical to historical time. There are little-known variations on familiar types and amusing sidelights on well-known mythological figures. The passions are typically illicit, the endings almost always disastrous. Parthenius edits out divine intervention and obviously fantastic elements, and gravitates to the grotesque, violent, and extreme violations of human custom, such as parricide, incest, and cannibalism. There is pathos, yet Parthenius treats these events in a distanced way, not without dry humor and paradox. Parthenius’s taste for mythographical novelty and historical subject matter, and his sympathetic treatment of illicit passion, have some parallels in contemporary Roman literature, for example Propertius’s Tarpeia elegy (4.4). But overall, Parthenius’s peculiar, antiheroic approach to erotic mythology represents a road not taken in extant Latin literature and differs markedly from the Greek novels that emerged later.
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Hultgård, Anders. "Destruction and Renewal". In The End of the World in Scandinavian Mythology, 337—C8.P462. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867254.003.0008.
Testo completoAbstract (sommario):
Abstract In Ragnarök the world is destroyed but is also restored. The idea of a cosmic conflagration has parallels elsewhere. In Jewish and Christian traditions it is gradually developing and is connected with the Judgement Day. The early Old Norse edifying literature puts the world fire into the foreground. In the Graeco-Roman world conceptions of a cosmic conflagration alternate with myths of a destruction through a huge flood. Iranian tradition emphasizes above all the purifying function of the cosmic fire. Scandinavian mythology includes different pictures of the world’s renewal. The earth will rise out of the sea greening as before. The old gods who have fallen will be replaced by a younger generation of gods, Baldr will return from Hel. Curiously, Thor’s hammer did not disappear with the god but is transferred into the new world. A human couple having survived the conflagration in a protected place will give rise to new generations. Christianity displays less interest in a cosmic renewal, and in Judaism the focus is on the restoration of land and people. Again, Iranian tradition shows the closest similarity with the Ragnarök myth in emphasizing the renewal of nature and humankind.
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"U". In The Oxford Companion To Irish Literature, a cura di Robert Welch e Bruce Stewart, 599–603. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198661580.003.0021.
Testo completoAbstract (sommario):
Abstract Ulster cycle, a group of heroic tales relating to the Ulaid, a powerful prehistoric people of the north of Ireland, from whom the name of Ulster derives. Their territory extended from Donegal to the mouth of the Boyne and their traditional seat was at *Emain Macha, now Navan fort near Armagh. Their opponents were the Conmichta, associated with the province of that name, who had their seat at Cruachain in Co. Roscommon. The conflict between Ulaid and Connachta forms the basis of the tales grouped in this cycle, the most famous of which is *Tdin Bo Cuailnge, where the Ulster hero is *Cu Chulainn. At the time in which the cycle of tales is set, *Conchobor mac Nessa is King of the Ulaid and *Medb, wife of Ailill, is Queen of the Connachta. The tales reflect a dynastic struggle between these two peoples, while Medb, depicted 574 as a turbulent spouse, retains associations with the goddess of sovereignty [see Irish *mythology]. Conchobor is said to have reigned at the beginning of the Christian era, but precise identification of characters in the cycle with historical personages is impossible. The world depicted in the tales, how ever, does reflect the culture of pre-Christian Celtic Gaul and Britain as described in classical writers such as Diodorus Siculus, Strabo, and Caesar: it is warlike; combat is often from chariots, manned by warrior and charioteer; the heads of opponents are cut off and used as trophies; the hero gets the finest cut of meat; druids, magic and prophecy are central to society; and the otherworld is always close. The La Tene Iron Age culture of rst- and 2nd-cent. Gaul and Briton survived longer in Ireland because Roman influence did not impinge; and this is the world of these tales which evolved sometime between roo BC and AD 400 [see *Celts]. They were written down by monks in the monasteries from the 7th cent. onward, by which time they were long established in the repertoire of poets and story tellers [see *tale-types]. The extent to which monas tic scribes reshaped material derived from oral and pagan sources is a matter of debate, but undoubtedly there were some attempts to Christianize it: the death of Conchobor is made to coincide with Christ’s crucifixion, for example.
Atti di convegni sul tema "Fauns (Roman mythology) in literature"
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Liu, Hong. "An Analysis of the Enlightenment of Greek and Roman Mythology to English Language and Literature". In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.95.
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