The Identity and Difference Between Keats's Hyperion and the Fall of Hyperion
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Heracles's Weariness and Apotheosis in Classical Greek Art
Dourado Lopes, Antonio Orlando Heracles's weariness and apotheosis in Classical Greek art Synthesis 2018, vol. 25, nro. 2, e042 Dourado Lopes, A. (2018). Heracles's weariness and apotheosis in Classical Greek art. Synthesis, 25 (2), e042. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.10707/pr.10707.pdf Información adicional en www.memoria.fahce.unlp.edu.ar Esta obra está bajo una Licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional https://creativecommons.org/licenses/by-nc-sa/4.0/ ARTÍCULO / ARTICLE Synthesis, vol. 25, nº 2, e042, diciembre 2018. ISSN 1851-779X Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Centro de Estudios Helénicos Heracles's weariness and apotheosis in Classical Greek art Agotamiento físico y apoteosis de Heracles en el arte clásico griego Antonio Orlando Dourado Lopes Universidad Federal de Minas Gerais, Brasil [email protected] Resumen: Este estudio propone una interpretación general de las imágenes realizadas en Grecia, a partir del siglo V a. C. en monedas, joyas, pinturas de vasijas y esculturas, que muestran el agotamiento físico de Heracles y su apoteosis divina. Luego de una extendida consideración de los principales trabajos académicos que abordaron el tema desde finales del siglo XIX, procuro mostrar que la representación iconográfica del agotamiento de Heracles y de su apoteosis da testimonio de la influencia de nuevas concepciones religiosas y filosóficas en su mito, fundamentalmente del pitagorismo, del orfismo y de los cultos mistéricos, así como del fuerte intelectualismo de la Atenas del siglo V a. C. -
The Apotheosis of He#Rakle#S on Olympus and the Mythological Origins of the Olympics
The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.07.12. "The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/the-apotheosis-of- herakles-on-olympus-and-the-mythological-origins-of-the- olympics/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41364811 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
The Poetry of John Keats: Lamia, Endymion, Poems 1817, and Poems 1820
Keats’ Poetry: 4 Books The poetry of John Keats: Lamia, Endymion, Poems 1817, and Poems 1820 AN ELECTRONIC CLASSICS SERIES PUBLICATION Keats’ Poetry: 4 Books by John Keats is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State Uni- versity assumes any responsibility for the material con- tained within the document or for the file as an elec- tronic transmission, in any way. Keats’ Poetry: 4 Books by John Keats, The Electronic Classics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File pro- duced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Department of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis Copyright © 2010 - 2012 The Pennsylvania State University is an equal opportunity university. Contents LAMIA .................................................... 6 ENDYMION: ....................................... 27 PREFACE..................................................................28 -
Top Left-Hand Corner
The four novels Hyperion, The Fall of Hyperion, Endymion and The Rise of Endymion constitute the Hyperion Cantos by the American science fiction writer Dan Simmons. This galactic-empire, epic, science fiction narrative contains a plethora of literary references. The dominant part comes from the nineteenth-century Romantic poet John Keats. The inclusion of passages from his poetry and letters is pursued in my analysis. Employing Lubomír Doležel’s categorizations of intertextuality— “transposition,” “expansion,” and “displacement”—I seek to show how Keats’s writings and his persona constitute a privileged intertext in Simmons’s tetralogy and I show its function. Simmons constructs subsidiary plots, some of which are driven by Keats’s most well-known poetry. In consequence, some of the subplots can be regarded as rewrites of Keats’s works. Although quotations of poetry have a tendency to direct the reader’s attention away from the main plot, slowing down the narrative, such passages in the narratives evoke Keats’s philosophy of empathy, beauty and love, which is fundamental for his humanism. For Keats, the poet is a humanist, giving solace to mankind through his poetry. I argue that the complex intertextual relationships with regards to Keats’s poetry and biography show the way Simmons expresses humanism as a belief in man’s dignity and worth, and uses it as the basis for his epic narrative. Keywords: Dan Simmons; The Hyperion Cantos; John Keats’s poetry and letters; intertextuality; empathy; beauty; love; humanism. Gräslund 2 The American author Dan Simmons is a prolific writer who has published in different genres. -
29 Diana and Endymion
29 Seligmann inventory); sold 1914 to (M. Knoedler & Co., London, New York, and Paris); sold March 1922 to John McCormack 1960.6.2 [1884 – 1945], New York; (M. Knoedler & Co., London, New York, and Paris); sold 1924 to William R. Timken [1866 – 1949], Diana and Endymion New York;1 by inheritance to his widow, Lillian Guyer Timken c. 1753 / 1756 [1881 – 1959], New York. Exhibited: L’Art du XVIIIe siècle, Galerie Georges Petit, Paris, 1883 – oil on canvas, 94.9 × 136.8 (37 3/8× 53 7/8) 1884, no. 7, as by Boucher. Loan Exhibition of Paintings by Old Timken Collection Masters, Palace of Fine Arts, San Francisco, 1920, no. 90, as by Boucher. Loan for display with permanent collection, Museum Distinguishing Marks and Labels of Fine Arts, St. Petersburg, Florida, 1966 – 1981, as by Boucher. The Loves of the Gods: Mythological Painting from Watteau to David, On stretcher: in blue crayon, “(5855)”; in blue crayon, “15444”; Galeries nationales du Grand Palais, Paris; Philadelphia Museum paper label, printed “15444”; Nga label of Art; Kimbell Art Museum, Fort Worth, 1991 – 1992, no. 60. Technical Notes: The support is a fine-weight, plain-weave fabric. The tacking margins have been removed, and the painting has been double-lined. There is a vertical seam in the original fabric approxi- mately 24 cm from the left edge. The painting’s original shape was changed radically during an early conservation treatment. The X- radiographs indicate that four fabric inserts were added to the paint- ing to change it from a curvilinear, scalloped shape to a rectangular format. -
Vespasian's Apotheosis
VESPASIAN’S APOTHEOSIS Andrew B. Gallia* In the study of the divinization of Roman emperors, a great deal depends upon the sequence of events. According to the model of consecratio proposed by Bickermann, apotheosis was supposed to be accomplished during the deceased emperor’s public funeral, after which the senate acknowledged what had transpired by decreeing appropriate honours for the new divus.1 Contradictory evidence has turned up in the Fasti Ostienses, however, which seem to indicate that both Marciana and Faustina were declared divae before their funerals took place.2 This suggests a shift * Published in The Classical Quarterly 69.1 (2019). 1 E. Bickermann, ‘Die römische Kaiserapotheosie’, in A. Wlosok (ed.), Römischer Kaiserkult (Darmstadt, 1978), 82-121, at 100-106 (= Archiv für ReligionswissenschaftW 27 [1929], 1-31, at 15-19); id., ‘Consecratio’, in W. den Boer (ed.), Le culte des souverains dans l’empire romain. Entretiens Hardt 19 (Geneva, 1973), 1-37, at 13-25. 2 L. Vidman, Fasti Ostienses (Prague, 19822), 48 J 39-43: IIII k. Septembr. | [Marciana Aug]usta excessit divaq(ue) cognominata. | [Eodem die Mati]dia Augusta cognominata. III | [non. Sept. Marc]iana Augusta funere censorio | [elata est.], 49 O 11-14: X[— k. Nov. Fausti]na Aug[usta excessit eodemq(ue) die a] | senatu diva app[ellata et s(enatus) c(onsultum) fact]um fun[ere censorio eam efferendam.] | Ludi et circenses [delati sunt. — i]dus N[ov. Faustina Augusta funere] | censorio elata e[st]. Against this interpretation of the Marciana fragment (as published by A. Degrassi, Inscr. It. 13.1 [1947], 201) see E. -
Keats Essay Ode to Psyche October 2015 Final
1 Keats, Myth, and the Science of Sympathy Gregory Tate Keywords: Keats, ‘Ode to Psyche’, science, medicine, sympathy, myth Abstract This essay considers the connections between myth and sympathy in Keats’s poetic theory and practice. It argues that the ‘Ode to Psyche’ exemplifies the way in which Keats uses mythological narrative, and the related trope of apostrophe, to promote a restrained form of sympathy, which preserves an objectifying distance between the poet and the feelings that his poetry examines. This model of sympathy is informed by Keats’s medical training: the influential surgeon Astley Cooper and The Hospital Pupil’s Guide (1816) both identify a sensitive but restrained sympathy for patients’ suffering as an essential part of the scientific and professional methods of nineteenth- century medicine. However, while The Hospital Pupil’s Guide claims that mythological superstition has been superseded in medicine by positivist science, Keats’s ode suggests that myth retains a central role in poetry, as the foundation of a poetic method that mediates between imaginative sympathy and objective impartiality. In an 1843 biography of Sir Astley Cooper, one of Cooper’s students, Benjamin Travers, comments of the eminent surgeon that Neither his temperament nor his education had endowed him with a sensitiveness which in any degree disqualified him for the performance of his professional duties on the most trying occasions. In other words, he possessed an insusceptibility, equal to his powers of physical endurance. I mention this to meet the imputation of want of sensitiveness, with which I have heard him 2 reproached. He was not deficient in feeling, although it flowed in a deeper current, out of the reach of ordinary circumstances.1 Travers insists that there was no ‘want of sensitiveness’ in Cooper’s treatment of patients; the professional surgeon was also a man of feeling. -
Read Book ^ Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate
[PDF] Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys,... Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, Asteria, Epimetheus, Hyperion, Astraeus, Cron Book Review A superior quality pdf along with the font used was intriguing to read through. It can be rally exciting throgh reading through time period. You may like how the blogger create this book. (Dr. Rylee Berg e) TITA NS: ATLA S, TITA N, RHEA , HELIOS, EOS, PROMETHEUS, HECATE, OCEA NUS, METIS, MNEMOSYNE, TITA NOMA CHY, SELENE, THEMIS, TETHYS, THEIA , IA PETUS, COEUS, CRIUS, A STERIA , EPIMETHEUS, HYPERION, A STRA EUS, CRON - To download Titans: A tlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, A steria, Epimetheus, Hyperion, A straeus, Cron PDF, you should access the web link under and save the ebook or have accessibility to other information which are have conjunction with Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, Asteria, Epimetheus, Hyperion, Astraeus, Cron book. » Download Titans: A tlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, A steria, Epimetheus, Hyperion, A straeus, Cron PDF « Our solutions was introduced with a want to serve as a total on the internet electronic digital catalogue that provides use of multitude of PDF file book assortment. You could find many kinds of e-publication and also other literatures from your paperwork database. -
Dialogical Odes by John Keats: Mythologically Revisited
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 4, No. 8, pp. 1730-1734, August 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.4.8.1730-1734 Dialogical Odes by John Keats: Mythologically Revisited Somayyeh Hashemi Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran Bahram Kazemian Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran Abstract—This paper, using Mikhail Bakhtin’s theory of dialogism tries to investigate the indications of dialogic voice in Odes by John Keats. Indeed this study goes through the dialogic reading of ‘Ode to a Nightingale’, ‘Ode on a Grecian Urn’, ‘Ode to Psyche’, and ‘Ode on Melancholy’, considering mythological outlooks. Analyzing Keats’s odes through dialogical perspective may reveal that Keats plays a role of an involved and social poet of his own time. Moreover, Keats embraces the world of fancy and imagination to free himself from sufferings of his society. Keats’ odes are influenced by expression of pain-joy reality by which he builds up a dialogue with readers trying to display his own political and social engagement. Applying various kinds of mythological elements and figures within the odes may disclose Keats’s historical response and reaction toward a conflicted society and human grieves in general. Index Terms—Bakhtinian dialogism, Keats’ Odes, pain, pleasure, mythology I. INTRODUCTION John Keats as one of the major poets of Romanticism, composed multiple popular poems and his odes gained the most attention of them. Going through his odes, it appears to the reader that Keats attempts to deal with different interpretation of pain and pleasure concepts. -
Dialectical Oscillations in Keats: a Kristevan Reading of Endymion, Hyperion and the Fall of Hyperion
DIALECTICAL OSCILLATIONS IN KEATS: A KRISTEVAN READING OF ENDYMION, HYPERION AND THE FALL OF HYPERION A THESIS PROPOSAL SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖKHAN ALBAYRAK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH LITERATURE JANUARY 2019 Approval of the Graduate School of Social Sciences Prof. Dr. Tülin Gençöz Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Çiğdem Sağın Şimşek Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Margaret J-M Sönmez Supervisor Examining Committee Members Prof. Dr. Huriye Reis (Hacettepe Uni., IDE) Assoc. Prof. Dr. Margaret J-M Sönmez (METU, FLE) Prof. Dr. Nazan Tutaş (Ankara Uni., IDE) Assoc. Prof. Dr. Nurten Birlik (METU, FLE) Assoc. Prof. Dr. Nil Korkut Kaykı (METU, FLE) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Gökhan Albayrak Signature : iii ABSTRACT DIALECTICAL OSCILLATIONS IN KEATS: A KRISTEVAN READING OF ENDYMION, HYPERION AND THE FALL OF HYPERION Albayrak, Gökhan PhD, Department of English Literature Supervisor: Assoc. Prof. Dr. Margaret J-M Sönmez January 2019, 422 pages By deploying Kristevan theory, this thesis argues that Keats's poetry oscillates between the semiotic and the symbolic and it asserts that the semiotic threatens to overwhelm the symbolic in Endymion while the poet strives to repress the semiotic in Hyperion poems but it returns and causes the poet to leave these poems as fragments. -
“Ode on a Grecian Urn” and Go Down, Moses
"ODE ON A GRECIA N URN" AND GO DOWN, MOSES: AN INTERTEXTUAL INQUIRY IN TO JOHN KEATS AND WILLIAM FAU LKNE Rl Jose Roberto O'Shea Universidade Federal de Santa Catarina The existence of an artistic legacy with which the artist is bound to come to terms has preoccupied a number of individ uals througho ut the history of art, and whe ther such legacy is mainly a burden or a blessin g-or both-rem ain s a controversial issue. In litera ture, this discussion has centered mainly around the notion of intertextuality and the study of sources and influences. Many critical theorists, disparate in time and point of view, have addressed the issue. Among othe rs, Waiter Jackson Bate, in The Burden of the Past and the English Poet (1970), Harold Bloom, in The Anxiety of Influence (1973) and in Poetry and Repression (1975), Jacqu es Derrida, in "Structure, Sign and Play in Th e Discourse of the Human Sciences" (1966) and in Of Grammatology (1967), and Julia Kristeva, in Semi6tica do Romance (trans . 1977), have attemp ted to construct or deconstruct a theoretical apparatus regarding the problem of in ter textuali ty. In the Int roduction to his interesting ly titled Books Speaking to Books, William T. Stafford remarks that he has been "listening to books speak to books for many years" (5), and he argues tha t, 1 All par enthetical documen tatio n, overall m echanics, as well as list of w ork s cited her ein com ply with the MLA Sty le Manual, by Walter S. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy.