Beyond the Pillars of Hercules: Linked Data and Cultural Heritage
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Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
THE HERO and HIS MOTHERS in SENECA's Hercules Furens
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXIII/1 • 2013 pp. 103–128. ISBN 978-83-7654-209-6. ISSN 0302-7384 Mateusz Stróżyński Instytut Filologii Klasycznej Uniwersytetu im. Adama Mickiewicza ul. Fredry 10, 61-701 Poznań Polska – Poland The Hero and His Mothers in Seneca’S Hercules FUreNs abstraCt. Stróżyński Mateusz, The hero and his mothers in Seneca’s Hercules Furens. The article deals with an image of the heroic self in Seneca’s Hercules as well as with maternal images (Alcmena, Juno and Megara), using psychoanalytic methodology involving identification of complementary self-object relationships. Hercules’ self seems to be construed mainly in an omnipotent, narcissistic fashion, whereas the three images of mothers reflect show the interaction between love and aggression in the play. Keywords: Seneca, Hercules, mother, psychoanalysis. Introduction Recently, Thalia Papadopoulou have observed that the critics writing about Seneca’s Hercules Furens are divided into two groups and that the division is quite similar to what can be seen in the scholarly reactions to Euripides’ Her- akles.1 However, the reader of Hercules Furens probably will not find much 1 See: T. Papadopoulou, Herakles and Hercules: The Hero’s ambivalence in euripides and seneca, “Mnemosyne” 57:3, 2004, pp. 257–283. The author reviews shortly the literature about the play and in the first group of critics, of those who are convinced that Hercules is “mad” from the beginning, but his madness gradually develops, she enumerates Galinsky (G.K. Galinsky, The Herakles Theme: The adaptations of the Hero in literature from Homer to the Twentieth Century, Oxford 1972), Zintzen (C. -
The Hercules Story Pdf, Epub, Ebook
THE HERCULES STORY PDF, EPUB, EBOOK Martin W. Bowman | 128 pages | 01 Aug 2009 | The History Press Ltd | 9780752450810 | English | Stroud, United Kingdom The Hercules Story PDF Book More From the Los Angeles Times. The god Apollo. Then she tried to kill the baby by sending snakes into his crib. Hercules was incredibly strong, even as a baby! When the tasks were completed, Apollo said, Hercules would become immortal. Deianira had a magic balm which a centaur had given to her. July 23, Hercules was able to drive the fearful boar into snow where he captured the boar in a net and brought the boar to Eurystheus. Greek Nyx: The Goddess of the Night. Eurystheus ordered Hercules to bring him the wild boar from the mountain of Erymanthos. Like many Greek gods, Poseidon was worshiped under many names that give insight into his importance Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Athena observed Heracles shrewdness and bravery and thus became an ally for life. The name Herakles means "glorious gift of Hera" in Greek, and that got Hera angrier still. Feb 14, Alexandra Dantzer. History at Home. Hercules was born a demi-god. On Wednesday afternoon, Sorbo retweeted a photo of some of the people who swarmed the U. Hercules could barely hear her, her whisper was that soft, yet somehow, and just as the Oracle had predicted to herself, Hera's spies discovered what the Oracle had told him. As he grew and his strength increased, Hera was evermore furious. -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
THE HERCULES-CACUS MYTH As Buchheit Notes, It Would Be a Mistake to Take So Carefully Elaborated an Episode As the Hercules-Cacu
CHAPTER THREE THE HERCULES-CACUS MYTH As Buchheit notes, it would be a mistake to take so carefully elaborated an episode as the Hercules-Cacus battle as simply an aetiology. That author goes on to make an appealing case for consideration of the episode as symbolic of the coming struggle between Aeneas and Turnus,l and doing so he shares the approach of Schnepf, whose main conclusion is that Hercules is a symbol, but of Augustus. 2 I t is not our principal purpose here to consider whether or not the symbolic interpretations of Buchheit and others are valid. We are basically investigating the likenesses and contrasts of form between Vergil and Callimachus, and hoping to demonstrate that such an investigation, differing widely as it does from those of Schnepf and Buchheit, still yields significant information concerning the art of Vergil. Before beginning we should note that the aitia of Aen. 8, bearing clearly as they do upon institutions, etc., of Vergil's day, betray a contemporary urgency undiscovered in the A itia of Callimachus. In this respect they justify the effort expended to elucidate the Augustan significance of the Hercules-Cacus myth. Attempts to find symbolic or allegorical dimensions of the myth which relate it to Augustus, even if carried too far at times,3 are neverthe less reasonable in principle. At any rate, this study shares with others a search for contemporary Augustan meaning in the Her cules-aition, as this chapter will show. Earlier literature on the passage disclosed much a bout the material at Vergil's disposal and its use by various writers; 4 1 Virgil uber die Sendung Roms, Gymnasium Beiheft 3 (Heidelberg, 1963) pp. -
Metadrama and Movement of Plot in Seneca's Hercules Furens
144 STAVROS FRANGOULIDIS From Victor to Victim: Metadrama and Movement of Plot in Seneca’s Hercules Furens STAVROS FRANGOULIDIS Aristotle University of Thessaloniki [email protected] Seneca’s Hercules Furens dramatizes Juno’s success in transforming Hercules into a criminal. This is set in direct contrast to her failed attempts in the dramatic past to bring about his demise, which only served to boost his renown as a benefactor of mankind. She achieves her success despite the existence of a competing authorial plan. Juno is bent on turning her stepson against his divine father and leading him to slaughter his family, so as to prevent him from attaining godhood; for his part, Hercules plans to implement his vision of a new Golden Age and gain immortality by styling himself as eradicator of evils1. When the two plans collide, Hercules is unable to figure out the true meaning of events: 1 — The text of Seneca’s Hercules Furens is from the Loeb edition by Fitch 2002. All English translations of Seneca’s text are from the Chicago University works of Seneca in translation by Konstan 2017. I would like to thank David Konstan, Stephanie Winder, and Niki Ikonomaki for thoughtful comments on various stages in the development of this essay. I am also grateful to EuGestA’s editor Jacqueline Serris, the editorial assistant Florence Verecque and the three anonymous referees whose detailed comments improved the paper considerably. The remaining flaws are my own. On Hercules’ vision of a new Golden Age, see Fitch 1987, 361; also Papadopoulou 2004, 270. EuGeStA - n°10 - 2020 FROM VICTOR TO VICTIM 145 he believes himself to be eliminating the remaining harm in the world, whereas in reality he is acting as Juno’s agent, directing his assault against heaven and exterminating his own domus. -
Comic Books Vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S
University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-30-2012 Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S. Latham Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the English Language and Literature Commons Recommended Citation Latham, Andrew S., "Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar" (2012). English Department Theses. Paper 1. http://hdl.handle.net/10950/73 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. COMIC BOOKS VS. GREEK MYTHOLOGY: THE ULTIMATE CROSSOVER FOR THE CLASSICAL SCHOLAR by ANDREW S. LATHAM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of Literature and Languages Paul Streufert, Ph.D., Committee Chair College of Arts and Sciences The University of Texas at Tyler May 2012 Acknowledgements There are entirely too many people I have to thank for the successful completion of this thesis, and I cannot stress enough how thankful I am that these people are in my life. In no particular order, I would like to dedicate this thesis to the following people… This thesis is dedicated to my mother and father, Mark and Seba, who always believe in me, despite all evidence to the contrary. -
Greek & Roman Hercules: Moments in Pre-Historical Imperialism
Kunapipi Volume 18 Issue 1 Article 4 1996 Greek & Roman Hercules: Moments in Pre-Historical Imperialism. Matthew Fox Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Fox, Matthew, Greek & Roman Hercules: Moments in Pre-Historical Imperialism., Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/4 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Greek & Roman Hercules: Moments in Pre-Historical Imperialism. Abstract My title has a double meaning; Hercules as a figure representing imperialism both as a pre-historic forerunner for the subjects of imperial Rome themselves, and as a point of pre-historic reference for this collection. There is a danger in contributing an essay on classical material to a collection of studies of the contemporary world; a danger that the specificity of ancient society will be passed over in the urge to find similarities, or worse, to find origins and causes. However, it is a danger that can be productive, in that a recognition of similarity can restrain an unjustified sense of the uniqueness of modern conditions. And for the classicist to look at the configurations of ancient empire from a modern perspective is to look at an area traditionally characterized by its political irrelevance, and to find new possibilities in the details of how different imperial subjects related to each other. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/4 Greek & Roman Hercules: Moments in Pre-Historical Imperialism 9 MATTHEW FOX Greek & Roman Hercules: Moments in Pre-Historical Imperialism. -
Hercules and Cacus in Vergil's Aeneid
The Advantage of the Stronger: Hercules and Cacus in Vergil’s Aeneid Leo Trotz-Liboff Middlebury College Classics Class of 2017 Abstract: The Hercules and Cacus episode in Book VIII highlights the problematic nature of Aeneas’ exploits throughout theAeneid. Through the violence of Hercules, Vergil makes the reader question whether a story like the founding of Rome and its eventual imperial expansion can be as cut and dry as the story of a rugged hero slaughtering someone whose name literally means “evil one” might superficially seem. Calling into question Aeneas’ morality and his justification for settling in Italy in turn casts doubt on Augustus’ own means of attaining power. The Hercules and Cacus episode is fundamental to our understanding of the Aeneid as a whole inasmuch as it brings up the question of right. The question of the rightful owner of Geryon’s cattle finds its parallel in Aeneas and Turnus’ dispute over betrothal to Lavinia, as well as in Augustus’ contested claim to rule Rome. The Italy of Hercules’ day, in which violence determines right, must be compared with the universal empire Augustus will eventually establish. This paper explores to what extent the Hercules and Cacus episode can influence our understanding of Aeneas and Augustus and how Vergil might be reacting to the political climate of his day through his poetry. Vergilian scholars widely accept that the characters of Hercules and Cacus1 find their parallels in Aeneas and Turnus respectively. In their view, the association of Hercules with Aeneas also extends -
Lecture 25 Good Morning and Welcome to LLT121 Classical Mythology in Which We Take Up, Again, the Career of Heracles
Lecture 25 Good morning and welcome to LLT121 Classical Mythology in which we take up, again, the career of Heracles. That is his Greek name. The Romans called him Hercules, the Panhellenic hero. He’s called the Panhellenic hero, not because he hit every single frat and sorority house on Greek row every Friday night. Although I, myself, think the Hercules that I know, the Hercules that I am familiar with, the Hercules that shows up in my classes certainly would have hit fraternity and sorority row every night that they were having a party. He is the son of Zeus and Alcmena. He had a tough time winning acceptance. He had to perform all sorts of labors because he killed his first wife and his kids. He loves them and leaves them and stuff like that. Today we’re going to make him into a philosophical hero among other things. First of all, let’s resume with the Twelfth Labor. The Twelfth Labor was Cerberus, the three-headed hound of hell. What is Cerberus’s job in Greek mythology? That is not a very promising start. It looks like a snake wearing dog-ears, kind of. While he was down there he talks to this fellow—the guy’s name is not important. For what it’s worth it was either Meleagar or something else—who told him, “You know, Herc, if you are looking for another wife once you get back up to the real world, you ought to check out my sister, Deianira.” Did you meet Deianira yet? Okay. -
Hercules: Flawed and Fixed
Hercules: Flawed and Fixed An Aristotelian Problem with a Kinesic Solution In Medici Florence Honors Thesis in the Department of Art History University of Oregon Cassidy Shaffer Spring 2019 The Medici family of Florence used Hercules as a dynastic symbol to project ideas of courage and strength onto the family. However, because Hercules is a deeply flawed character throughout the entirety of his story, the Medici needed to manipulate how people perceived the hero by commissioning sculpture that would reflect the desired moral values and courageous virtue. Florence was ruled by the Medici family for three centuries beginning with the return of Cosimo di Giovanni de’ Medici from exile in 1434.1 During these three centuries, the Medici family used the artistic innovation of the Florentine renaissance to profit politically. Beginning with Cosimo di Giovanni de’ Medici, large-scale Medici patronage of the arts continued steadily throughout the remainder of the 15th and 16th centuries within the family. Their commissions were often used to demonstrate the family’s wealth, status, religious beliefs, interests, and culture. They largely conveyed themes such as fortitude, piety, leadership, righteousness, and courage. Two of the most prominent figures used to present these concepts were the biblical David and the mythical Hercules. Adopted to the city’s seal in 12812, Hercules became a symbol of Florence and connected the city with these same virtues later indexed in Medici commissions. The Medici adopted the iconography of the hero Hercules as not only an expression of their family’s values, but also an articulation of what life in Florence would be like under Medici influence; through Hercules they projected themselves as quintessentially Florentine. -
Wygant, A. (2010) the Ghost of Alcestis. In: Brown, P
Wygant, A. (2010) The ghost of Alcestis. In: Brown, P. and Ograjensek, S. (eds.) Ancient Drama in Music for the Modern Stage. Oxford University Press: Oxford. ISBN 9780199558551 Copyright © 2010 Oxford University Press. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge The content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/44593/ th Deposited on: 10 March 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Ancient Drama in Music for the Modern Stage / 06-Brown-ch06 page 96 3:39pm OUP UNCORRECTED PROOF – First Proof, 3/6/2010, SPi 6 The Ghost of Alcestis Amy Wygant The first post-antique singing engagement of the Euripidean heroine Alcestis seems to have been in 1660 in Venice.1 But it was fourteen years later that her French operatic debut coincided with and indeed occasioned the beginnings of a great literary and intellectual quarrel, known as the ‘Querelle des anciens et des modernes’ (‘Quarrel of the Ancients and the Moderns’). This debate among the inhabitants of the French Parnassus of the day would create a public for literature, which would in turn create that public in whose name the wrenching cataclysms of the French Revolution would occur.2 The story of Alcestis from Euripides is, precisely, the story of a return, a re-volution in the proper early modern sense of the word.3 The god Apollo having promised his host and friend, her husband and King Admetus, that this king’s impending death would be avoided if someone could be found to die for him, Alcestis volunteers.