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The Dawn in Erewhon"
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences December 2007 Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Patrick Dillon [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Dillon, Patrick, "Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon"" 10 December 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/23. Revised version, posted 10 December 2007. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/23 For more information, please contact [email protected]. Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Abstract In "The Dawn in Erewhon", the concluding novella of Tatlin!, Guy Davenport explores the myth of Orpheus in the context of two storylines: Adriaan van Hovendaal, a thinly veiled version of Ludwig Wittgenstein, and an updated retelling of Samuel Butler's utopian novel Erewhon. Davenport tells the story in a disjunctive style and uses the Orpheus myth as a symbol to refer to a creative sensibility that has been lost in modern technological civilization but is recoverable through art. Keywords Charles Bernstein, Bernstein, Charles, English, Guy Davenport, Davenport, Orpheus, Tatlin, Dawn in Erewhon, Erewhon, ludite, luditism Comments Revised version, posted 10 December 2007. This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/23 Dimensions of Erewhon The Modern Orpheus in Guy Davenport’s “The Dawn in Erewhon” Patrick Dillon Introduction: The Assemblage Style Although Tatlin! is Guy Davenport’s first collection of fiction, it is the work of a fully mature artist. -
Witnessing the Exterior| Blanchot and the Impossibility of Writing
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1991 Witnessing the exterior| Blanchot and the impossibility of writing Philip John Maloney The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Maloney, Philip John, "Witnessing the exterior| Blanchot and the impossibility of writing" (1991). Graduate Student Theses, Dissertations, & Professional Papers. 4106. https://scholarworks.umt.edu/etd/4106 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY Copying allowed as provided under provisions of the Fair Use Section of the U.S. COPYRIGHT LAW, 1976. Any copying for commercial purposes or financial gain may be undertaken only with the author's written consent. MontanaUniversity of Witnessing The Exterior Blanchot and the Impossibility of Writing By Philip John Maloney B.A., University of Montana, 1989 Presented in partial fulfillment of the requirements for the degree of Master of Arts University of Montana 1991 Approved by hair, Board of Examiners iean. Graduate ScHoi /??/ UMI Number: EP35377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
The Story of Orpheus and Eurydice in Coetzee and Rilke
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Debrecen Electronic Archive ACTA UNIVERSITATIS SAPIENTIAE, PHILOLOGICA, 8, 1 (2016) 41–48 DOI: 10.1515/ausp-2016-0003 The Story of Orpheus and Eurydice in Coetzee and Rilke Ottilia VERES Partium Christian University (Oradea, Romania) Department of English Language and Literature [email protected] Abstract. J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre. Keywords: Orpheus, Eurydice, encounter, intersubjectivity. J. M. Coetzee’s seventh novel, The Master of Petersburg (1994), is a novel about the trauma of losing a son; it is a mourning text both in the sense that in it the protagonist Dostoevsky tries to work through the trauma of loss (and through him Coetzee tries to work through the trauma of the loss of his own son1) and in the sense that the novel textually performs the work of mourning by trying – and failing – to understand this loss. -
The Anti-Orpheus: Queering Myth in Ducastel Et Martineau's Théo Et
Studies in 20th & 21st Century Literature Volume 42 Issue 2 Article 4 February 2018 The Anti-Orpheus: Queering Myth in Ducastel et Martineau’s Théo et Hugo dans le même bateau (Paris 05:59) Todd W. Reeser University of Pittsburgh, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Reeser, Todd W. (2018) "The Anti-Orpheus: Queering Myth in Ducastel et Martineau’s Théo et Hugo dans le même bateau (Paris 05:59)," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 2, Article 4. https://doi.org/10.4148/2334-4415.1989 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Anti-Orpheus: Queering Myth in Ducastel et Martineau’s Théo et Hugo dans le même bateau (Paris 05:59) Abstract Olivier Ducastel and Jacques Martineau’s 2016 film Théo et Hugo dans le même bateau (Paris 05:59: Théo & Hugo) concludes on an Orphic note, inviting a consideration of the entire film as based on the myth of Orpheus and Eurydice. The film appropriates but also radically transforms elements of the foundational myth—including especially Orpheus’s turn to pederasty in Ovid’s Latin version—crafting a queer love story based on potentiality out of the tragedy of the heterosexual love story. -
Grecia Antigua En El Cine: Filmografía Y Bibliografía
GRECIA ANTIGUA EN EL CINE: FILMOGRAFÍA Y BIBLIOGRAFÍA VALVERDE GARCÍA , Alejandro IES «Santísima Trinidad», Baeza (Jaén) [email protected] Fecha de recepción: 24 de mayo de 2010 Fecha de aceptación: 30 de mayo de 2010 Resumen: El autor presenta en este artículo una completa filmografía sobre Grecia Antigua en el cine que contiene películas filmadas desde el año 1894 hasta nuestros días. Esta recopilación termina con una bibliografía actualizada muy útil para el estudio de la mitología, la literatura, la historia y la cultura clásica a través del cine. Palabras Clave : Grecia Antigua, Cine, Cultura Clásica, Historia, Literatura, Mitología Abstract : In this paper, the author presents a complete filmography of the portrayal of Ancient Greece in cinema including movies filmed from 1894 to the present. At the end of this compilation, there is an updated bibliography which would be very useful for studying mythology, literature, history and classical culture through film. Keywords : Ancient Greece, Cinema, Classical Culture, History, Literature, Mythology. 1. INTRODUCCIÓN Hace ya más de diez años que publicamos una primera filmografía sobre la Grecia Antigua, centrándonos especialmente en la adaptación de tragedias y mitos griegos a la actualidad. En aquel momento recogíamos unos ciento veinte títulos aconsejando aquéllos que ofrecían una mayor posibilidad de uso didáctico en las aulas (Valverde 1998). Posteriormente, el profesor Fernando Lillo Redonet, una de las máximas autoridades en nuestro país sobre el cine grecolatino, nos propuso revisar dicha relación de títulos ampliándola hasta superar las doscientas películas en un anexo que acompañaba a un sucinto análisis sobre la «Electra» de Michael Cacoyannis y el Philologica Urcitana Revista Semestral de Iniciación a la Investigación en Filología Vol. -
Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette
Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette Master’s Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada August 2013 © Ryan Cadrette, 2013 iii Abstract Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms. iv Acknowledgments I would like to thank my advisor, Peter van Wyck, for his reassurance that earlier drafts of this thesis were not necessarily indicative of insanity, and, hopefully, for his forgiveness of my failure to incorporate all of his particularly insightful feedback. I would also like to thank Matt Soar and Darren Wershler for agreeing to actually read the peculiar monstrosity I have assembled here. -
Eurydice Without Orpheus
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 Eurydice without Orpheus Nora E. Offen Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Offen, Nora E., "Eurydice without Orpheus" (2011). Senior Projects Spring 2011. 5. https://digitalcommons.bard.edu/senproj_s2011/5 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Eurydice without Orpheus Senior Project submitted to The Division of Languages and Literature of Bard College by Nora Offen Annandale-on-Hudson, NY May 2011 2 “The love that consists in this: that two solitudes protect and border and greet each other.” For Mike Porter and Luisa Lopez. Acknowledgments I am grateful beyond words to my advisor, Joan Retallack, whose support has made work on this project possible, exhilarating, and deeply gratifying. And to my parents, Neil and Carol Offen, for providing their daughter with a house full of books, and a truly humbling depth of unconditional love. 3 Preface What follows is a poetic and critical reckoning with the Orpheus and Eurydice myth. -
Black Orpheus, Barack Obama's Governmentality
Black Orpheus, Barack Obama’s Governmentality by Donald E. Pease This essay constitutes a preliminary effort to explain the state fantasy with which Barack Obama hegemonized an alternative to the biopolitical settlement normalizing George W. Bush’s Global War on Terror (Pease 2009). In what follows, I intend to argue that Obama has not utterly displaced Bush’s Homeland State of Exception but that Obama’s governmentality presupposes it as the structuring logic through which he transformed the US state’s relationship with domestic and planetary peoples. I will be interested in particular in the role that Obama’s complex negotiation with the congeries of racial fantasies that he found condensed in the figure and the film Black Orpheus played in Barack Obama’s governmentality. Named after orphasias, the dark one, Orpheus, is the historical figure credited with teaching Greeks their foundational myths and sacred rites. Orpheus’s lyre is said to have permitted the Argonauts to elude the Sirens. In the most famous of the Greek myths associated with his name, Orpheus descended into the underworld after the death of his beloved Eurydice to plead with its rulers for her release. According to Ovid, Orpheus’s eloquent entreaty on her behalf brought the underworld to a standstill.1 The arcane rituals associated with Orpheus’s name have entered contemporary political theory to explain the transformation of bare life (zoe) into 1 The speculative claim that the civic religion’s of modern states derives from the transformational rituals sedimented within the Orphic movement was broached initially in what remains the best scholarly treatise on the Orphic mysteries, Guthrie 1935. -
ORPHEUS TWICE 20.09.2013 - 14.12.2013 Is Precisely Nocturnal, Which Is That of the Night”
ORPHEUS TWICE 20.09.2013 - 14.12.2013 is precisely nocturnal, which is that of the night”. Blanchot makes an ORPHEUS TWICE analogy between Orpheus’s gaze, the creative process, and its philosophical interpretation. The path taken by Orpheus from light to dark, and back to light in search of his muse (inspiration) is symbolic of the artist’s journey from The “ghost of an image” is an expression used by the English artist John reality to the edges of the surreal. The force that enables Orpheus to cross the Stezaker to describe the process by which images disappear, travel across time, boundaries and to descend to Eurydice is that of art. Rendering this precise and rematerialize. It’s a suitable subtitle for Orpheus Twice, an exhibition moment when the artist’s control is undermined, when an image (Eurydice) is investigating image and absence. about to disappear, is the object of the work of art. This project was nourished by sources as diverse as the problematic and hotly “I am dedicated to fascination — to image fascination, a fascination for the debated restoration two years ago of Leonardo da Vinci’s The Virgin and Child point at which the image becomes self-enclosed and autonomous. It does so with St. Anne; Laurence Giavarini’s essay on a painting by Nicolas Poussin1; through a series of processes of disjunction”, explains John Stezaker. “I’m and Jakuta Alikavazovic’s recent novel The Blond and the Bunker. very much a follower of Maurice Blanchot’s idea when it comes to image and fascination; he sees it as a necessary series of deaths that the image has to Often in these sources, the mythological couple of Orpheus and Eurydice go through in order to become visible and disconnected from its ordinary appears as a metaphor for the act of seeing and creating. -
Visions of Eurydice in Céline Sciamma's Film 'Portrait of a Lady On
Visions of Eurydice in Céline Sciamma’s film ‘Portrait of a Lady on Fire’ ‘Portrait of a Lady on Fire’ is a love story framed around looking. It shows us how it feels to look and be looked at, to fall in love and to have love fade into memory. The film tells a story that radically redefines the gaze. The key element, in my opinion, to the film’s success is writer and director Céline Sciamma’s use of the myth of Orpheus and Eurydice. The myth both centres the story in the past and transforms the present. The film is set in 18th century France and follows Marianne (Noémie Merlant), a painter, who is invited to an isolated aristocratic household in Brittany, to paint the portrait of Héloïse (Adèle Haenel). Héloïse is newly betrothed to a Milanese nobleman whom she has never met and she is unhappy with the prospect of her marriage. So, in way of rebellion, she is refusing to pose for her portrait, and managed to exhaust the first painter who tried. So, when Marianne is brought to Heloise, she is introduced to her as a walking companion. Marianne must paint Héloïse in secret, using fleeting memories to patch together a portrait. The two women slowly form a connection, and this connection blooms into love. Their love story mimics the myth of Orpheus and Eurydice, which becomes an explicit metaphor for their relationship just over half-way through the film, when Héloïse, Marianne and the serving girl Sophie (Luàna Bajrami) read and discuss Ovid’s version of Orpheus’ journey to and from the underworld, and his failure to save Eurydice. -
Greek Cinema - 100 Years of Film History 1900-2000, Volume 1/ Trifon Tzavalas Tzavalas, Trifon, 2012 P
GREEK CINEMA Volume 1 100 Years of Film History 1900-2000 Trifon Tzavalas © Copyright 2012, Trifon Tzavalas and the Hellenic University Club of Southern California. All rights reserved. Work may not be reproduced without permission by Trifon Tzavalas or the publisher. Quoting is permitted with a reference to the source and a notice to the publisher at [email protected]. Please use this e-mail to inform the editor of any errors. Published by the Hellenic University Club of Southern California PO Box 45581 Los Angeles, CA 90045-0581 USA Library of Congress Catalog-in-Publication Data Tzavalas, Trifon, 1935- Greek Cinema - 100 Years of Film History 1900-2000, Volume 1/ Trifon Tzavalas Tzavalas, Trifon, 2012 p. cm Includes bibliographical references and index, 1. Motion Pictures Arrived in Greece. 2. The Silent Greek Movies. 3. The Period of Talking Movies Begins. 4. The Decade of 1951 – 1960. 5. The Decade of 1961 – 1970, 6. The Years 1971 – 1975, 7. The Years 1976 – 2000, References: Hellenic Movies That Participated in Domestic and Foreign Festivals, 1949 – 2000; Greek Performers in Foreign Films Productions: Actresses, Actors; Bibliography ISBN-13: 978-1-938385-11-7 (PDF) 791.976 Published in the United States of America First Edition 2012 10 9 8 7 6 5 4 3 2 1 ____________________________________________ DONATION INFORMATION The Hellenic University Club of Southern California is a Non-Profit Cultural Organization and its publications are intended to help readers and researchers enhance the knowledge and understanding of Greek cultural heritage. For more information on its activities go to: www.huc.org Use of this book is free; however we kindly request a donation of $5.00 per printed volume of the work. -
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FACULTY OF ENGLISH LANGUAGE AND LITERATURE M.St./M.Phil. English Course Details 2016-17 Further programme information is available in the M.St./M.Phil. Handbook Contents Introduction To The M.St. In English Literature (By Period, and English and American) and the M.St. in World Literatures in English 4 A-Course: Literature, Contexts and Approaches (the core course) 4 B-Course: Research Skills 4 Post 1550; English and American; World Literatures strands 4 C-Course: Special Options 4 Assessment 5 Dissertation 5 Introduction To The M.Phil. In English (Medieval Studies) 6 Second Year Assessment 6 Strand-Specific Course Descriptions 7 M.St. In English, 650-1550 / First Year M.Phil. 7 A-Course (Professor Andy Orchard and Dr Laura Ashe) 7 B-Course: Course in Transcription, Palaeography, Codicology and the History of the Book13 M.St. In English Literature, 1550-1700 15 Hilary Term B-Course Early Modern Textual Cultures: Writing, Circulating, Reading (Dr Adam Smyth) 20 M.St. in English Literature, 1700-1830 24 A-Course 24 Hilary Term B-Course Textual Cultures 1700-1830 25 M.St. in English Literature, 1830-1914 27 B-Course: Bibliography, Theories of Text, History of the Book, Manuscript Studies: 1830- 1914 28 M.St. in English Literature, 1900-Present 30 A-Course 30 M.St. in English And American Studies 34 A-Course: Stories of American Literature 34 M.St. in World Literatures In English 37 A-Course 37 B-Course 40 B-Course, Post-1550 - Michaelmas Term 42 B-Course: Material Texts, 1550-1700 43 B-Course: Material Texts, 1700-1830 47 Material Texts