Jean Cocteau, ORPHÉE/ORPHEUS (1950, 95 Minutes)
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THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Extracts of Orfeu Da Conceição (Translated by David Treece)
Extracts of Orfeu da Conceição (translated by David Treece) Extracts of Orfeu da Conceição (translated by David Treece) The poems and songs here translated are from the play Orfeu da Conceição, by Vinicius de Moraes and Antonio Carlos Jobim. This selection was part of the libretto for “Playing with Orpheus”, performed by the King’s Brazil Ensemble in October 2016, as part of the Festival of Arts and Humanities at King’s College London. Orpheus Eurydice… Eurydice… Eurydice … The name that bids one to speak Of love: name of my love, which the wind Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… Coryphaeus The perils of this life are too many For those who feel passion, above all When a moon suddenly appears And hangs there in the sky, as if forgotten. And if the moonlight in its wild frenzy Is joined by some melody Then you must watch out For a woman must be there about. A woman must be there about, made Of music, moonlight and feeling And life won’t let her be, so perfect is she. A woman who is like the very Moon: So lovely that she leaves a trail of suffering So filled with innocence that she stands naked there. Orpheus Eurydice… Eurydice… Eurydice… The name that asks to speak Of love: name of my love, which the wind - 597 - RASILIANA: Journal for Brazilian Studies. ISSN 2245-4373. Vol. 9 No. 1 (2020). Extracts of Orfeu da Conceição (translated by David Treece) Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… A Woman’s name A woman’s name Just a name, no more… And a self-respecting man Breaks down and weeps And acts against his will And is deprived of peace. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
The Lyre of Thamyris
THE LYRE OF THAMYRIS In Greek mythology, Thamyris (Greek: Θάμυρις, Thámuris), son of Philammon and the nymph Argiope, was a Thracian singer who was so proud of his skill that he boasted he could out sing the Muses. He competed against them and lost - as punishment for his presumption they blinded him, and took away his ability to make poetry and to play the lyre. The outline of the story is told in the Iliad. This piece attempts to evoke the particularly poignant feel of this gem of haunting ancient Greek mythology, in the intense and sorrowful ancient Greek Hypodorian Mode, in the clear focus of musical intervals authentically tuned in geometrically pure just intonation. The Hypordorian mode was misnamed in the Middle Ages, the “Aeolian Mode”. The names of musical modes in use today, (e.g. Dorian, Mixolydian etc.) although having the same names as the original Greek musical modes, were actually misnamed during the Middle Ages! Apparently, the Greeks counted intervals from top to bottom. When medieval ecclesiastical scholars tried to interpret the ancient texts, they counted from bottom to top, jumbling the information. The misnamed medieval modes are only distinguished by the ancient Greek modes of the same name, by being labelled “Church Modes”. It was due to a misinterpretation of the Latin texts of Boethius, that medieval modes were given these wrong Greek names. The original ancient Greek Hypodorian Mode has the equivalent intervals as A- A on the white notes of the piano. This intense and distinctively mournful mode, sometimes referred to as the ‘natural minor’, is actually the basis of all the modern minor scales we now use. -
Baltimore City Historic Preservation Design Guidelines
Baltimore City Historic Preservation Design Guidelines Adopted by the Commission for Historical and Architectural Preservation Baltimore City Department of Planning City of Baltimore, Maryland Chris Ryer Catherine E. Pugh Date of Adoption - December 8, 2015 Director of Planning Mayor Last Update - April 13, 2021 2 Baltimore City Historic Preservation Design Guidelines Table of Contents Chapter 1: Design Guidelines for Building Exteriors . 7 1.1 Identifying and Preserving Historic Building Fabric..............................7 1.2 Masonry..........................................................8 1.3 Wood .......................................................... 13 1.4 Metals.......................................................... 15 1.5 Alternative Materials . 17 1.6 Doors .......................................................... 18 1.7 Windows ........................................................ 20 1.8 Roofing and Gutters ................................................. 25 1.9 Porches, Steps, Railings and Decks . 30 1.10 Paint and Color ................................................... 33 1.11 Lighting ........................................................ 36 1.12 Signage and Awnings ............................................... 37 1.13 Mechanical, Electrical & Plumbing ...................................... 39 1.14 Modern Equipment................................................. 40 1.15 Accessibility . 41 1.16 Lead-Based Paint Hazards . 42 1.17 Alterations and Additions ............................................ 44 -
An Alabama School Girl in Paris 1842-1844
An Alabama School Girl in Paris 1842-1844 the letters of Mary Fenwick Lewis and her family Nancyt/ M. Rohr_____ _ An Alabama School Girl in Paris, 1842-1844 The Letters of Mary Fenwick Lewis and Her Family Edited by Nancy M. Rohr An Alabama School Girl In Paris N a n c y M. Ro h r Copyright Q 2001 by Nancy M. Rohr All rights reserved. No part of this book may be reproduced in any form without permission of the editor. ISPN: 0-9707368-0-0 Silver Threads Publishing 10012 Louis Dr. Huntsville, AL 35803 Second Edition 2006 Printed by Boaz Printing, Boaz, Alabama CONTENTS Preface...................................................................................................................1 EditingTechniques...........................................................................................5 The Families.......................................................................................................7 List of Illustrations........................................................................................10 I The Lewis Family Before the Letters................................................. 11 You Are Related to the Brave and Good II The Calhoun Family Before the Letters......................................... 20 These Sums will Furnish Ample Means Apples O f Gold in Pictures of Silver........................................26 III The Letters - 1842................................................................................. 28 IV The Letters - 1843................................................................................ -
Cocteau En La Cerámica
Jean Cocteau «en la cerámica» Cocteau y la cerámica Cocteau et la céramique 25 Explicación Castellano Explicación frances 25 Jean Cocteau nació en París en1889 y como muchos hombres de esa época, aún es joven cuando descubre la guerra y su séquito de horrores. En 1916, a su vuelta del frente, llega a París y frecuenta a los artistas e intelectuales de Montparnasse, donde conoce, entre otros, a Pablo Picasso, Guillaume Apollinaire, Max Jacob, etc. ¡Encuentros fundamentales cuando se tiene poco más de veinte años! Picasso le pasa 8 años y su amistad durará hasta la muerte del poeta. Cocteau, paralelamente a una obra literaria inmensa, a una doble carrera de dramaturgo y cineasta, toda su vida dibujará y practicará las técnicas plásticas más diversas, abordando la pintura, las diferentes formas del grabado, la tapicería, etc., y al final de su vida, la cerámica, en la que se expresa libremente su universo poético. Es el ejemplo por excelencia del artista multidisciplinar adelantado a su tiempo. Es evidente que su enfoque de la unión de la tierra con el fuego es consecuencia de un largo compañerismo y de una sólida amistad con el pintor español. Asimismo se debe a su acer - camiento geográfico en la Costa Azul, que conlleva encuentros periódicos entre los dos hombres. Jean Cocteau est né à Paris en1889 et comme beaucoup d’hommes, à cette époque, il est encore jeune lorsqu’il découvre la guerre et son cortège d’horreurs. En 1916, à son retour du front des opérations militaires, il regagne Paris et fréquente les artistes et intellectuels de Montparnasse, où il rencontre, entre autres, Pablo Picasso, Guillaume Apollinaire, Max Jacob,… Des rencontres essentielles lorsque l’on a qu’un peu plus de vingt ans!. -
John Ellis Full Biog 2018
JOHN ELLIS BULLET BIOG 2018 Formed the legendary BAZOOKA JOE Band members included Adam Ant. First Sex Pistols gig was as support to Bazooka Joe. A very influential band despite making no records. Formed THE VIBRATORS. Released 2 albums for Epic. Also played with Chris Spedding on TV and a couple of shows. REM covered a Vibrators single. Extensive touring and TV/Radio appearances including John Peel sessions. Released 2 solo singles. Played guitar in Jean-Jacques Burnel’s Euroband for UK tour. Formed RAPID EYE MOVEMENT featuring HOT GOSSIP dancers and electronics. Supported Jean-Jacques Burnel’s Euroband on UK tour. Joined Peter Gabriel Band for “China” tour and played on Gabriel’s 4th solo album. Stood in for Hugh Cornwell for 2 shows by THE STRANGLERS at the Rainbow Theatre. Album from gig released. Worked with German duo ISLO MOB on album and single. Started working with Peter Hammill eventually doing many tours and recording on 7 albums. Rejoined THE VIBRATORS for more recording and touring. Founder and press officer for the famous M11 Link Road campaign. Recorded 2 albums under the name of PURPLE HELMETS with Jean-Jacques Burnel and Dave Greenfield of THE STRANGLERS. Played additional guitar on THE STRANGLERS ‘10’ tour. Joined THE STRANGLERS as full time member. Extensive touring and recording over 10 years. Many albums released including live recording of Albert Hall show. Played many festivals across the world. Many TV and Radio appearances. Started recording series of electronic instrumental albums as soundtracks for Art exhibitions. 5 CDs released by Voiceprint. Also released WABI SABI 21©, the first of a trilogy of albums inspired by Japanese culture. -
Performeando Orfeu Negro
Performeando Orfeu Negro Leslie O’Toole The University of Arizona a película Orfeu Negro es una coproducción entre Brasil y Francia, con un direc- tor francés. Fue estrenada en 1959 con mucha aclamación crítica fuera de Brasil. Ganó una cantidad de premios, incluyendo el Palm d’Or en 1959 en Cannes, Llos premios Golden Globe y Academy Award para en 1960 Mejor Película Extranjera y el premio BAFTA en 1961. Antes del premio BAFTA fue considerada una película francesa, pero con este premio recibió la atribución de ser una coproducción. Aunque la película era muy popular en todo el mundo, los brasileños tenían algunas frustra- ciones con la imagen extranjera de Brasil que muestra. Orfeu Negro tiene un director, empresa de producción y equipo de rodaje francés, por eso los brasileños sentían que la película representaba la vida de las favelas de Rio de Janeiro en una luz demasiadamente romántica y estilizada. En 2001, Carlos Diegues produjo y dirigió una nueva versión, llamada Orfeu, que tiene lugar en las modernas favelas de Rio de Janeiro. Esta película, que muestra la banda sonora de Caetano Veloso, un famoso músico brasileño y uno de los fundadores del estilo tropicalismo, fue bien recibida por el publico brasileño pero no recibió mucha aclamación o atención fuera de Brasil. ¿Cómo podía embelesar una película como Orfeu Negro su audiencia mundial y por qué continúa de cautivar su atención? Creo que Orfeu Negro, con la metaforicalización de un mito, ha tocado tantas personas porque muestra nuestros deseos y humanidad. Propongo investigar cómo la película cumple esta visualización a través del uso de dife- rentes teóricos, filósofos y antropólogos, más predominantemente, Mikhail Bakhtin, Victor Turner y Joseph Roach. -
61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A
CHAPTER 4 CONNECTIONS AND CONFLICT WITH STRAVINSKY Connections and Collaborations A close friendship between Arthur Lourié and Igor Stravinsky began once both had left their native Russian homeland and settled on French soil. Stravinsky left before the Russian Revolution occurred and was on friendly terms with his countrymen when he departed; from the premiere of the Firebird (1910) in Paris onward he was the favored representative of Russia abroad. "The force of his example bequeathed a russkiv slog (Russian manner of expression or writing) to the whole world of twentieth-century concert music."1 Lourié on the other hand defected in 1922 after the Bolshevik Revolution and, because he had abandoned his position as the first commissar of music, he was thereafter regarded as a traitor. Fortunately this disrepute did not follow him to Paris, where Stravinsky, as did others, appreciated his musical and literary talents. The first contact between the two composers was apparently a correspondence from Stravinsky to Lourié September 9, 1920 in regard to the emigration of Stravinsky's mother. The letter from Stravinsky thanks Lourié for previous help and requests further assistance in selling items from Stravinsky's 1 Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the 61 62 apartment in order to raise money for his mother's voyage to France.2 She finally left in 1922, which was the year in which Lourié himself defected while on government business in Berlin. The two may have met for the first time in 1923 when Stravinsky's Histoire du Soldat was performed at the Bauhaus exhibit in Weimar, Germany. -
Persephone: Symbol of Rebirth
SECTION II CHAPTER 7 PERSEPHONE: SYMBOL OF REBIRTH PAPER CONTENTS INTRODUCTION MYTHIC TALE: SYNOPSIS LORD HADES: ARCHETYPE OF THE DEATH FORCE DEMETER: ARCHETYPE OF THE LIFE FORCE THE UNDERWORLD: WORLD OF SHADOWS AND SOULS PERSEPHONE: THE WAY OF THE FEMININE Name and Origins Daughterhood Abduction and Marriage Pomegranate Judgment of Seasons Motherhood Queenhood Deep Feminine Caretaker of Souls RETURN AND REBIRTH FEMININE INDIVIDUATION CLOSING COMENTS 1 INTRODUCTION The mythic tale of Persephone’s abduction by Hades, the personification of the Death Force, and the unremitting search by her mother, Demeter, Goddess exemplar of the Life Force, relates a fascinating account of how Death and Life Forces interact with each other. In the tale, Persephone holds the tension between Life and Death Forces and in doing so produces a new alterative, Rebirth. As maiden she is ever ready to birth, to give Life. Although Persephone's name means 'Bringer of Destruction', as Queen of the Underworld she regenerates the Souls that come to her realm. The mythic tale suggests that the resolution of the tension between Life and Death leads to the transcendent third. The prior two chapters focus on transformation that is needed for the feminine to carry out the “return” from its suppressed state. The chapter on Pele and Hi’iaka brought attention to feminine transformation that occurred when relationship based on fertility gave way to relationship based on personal encounter. The chapter on The Goose Girl addresses the transformation that leads to feminine personhood when daughter separates from the mother. In this chapter attention is given to the transformation that rebirth brings about, namely, enabling and revitalizing the Individuation Process.