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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
The Death of Eurydice Orpheus' Descent Into Hades
Myth #4 Orpheus and Eurydice Name _____________________________________ READ CLOSELY AND SHOW EVIDENCE OF THINKING BY ANNOTATING. Annotate all readings by highlighting the main idea in yellow; the best evidence supporting in blue, and any interesting phrases in green. As it is only fitting, Orpheus, “the father of songs” and the supreme musician in Greek mythology, was the son of one of the Muses, generally said to be Calliope, by either Apollo or the Thracian king Oeagrus. Be that as it may, we know for sure that Orpheus got a golden lyre as a gift from Apollo when just a child, and that it was the god who taught him how to play it in such a beautiful manner. Moreover, his mother showed him how to add verses to the music, and his eight aunts how to polish them to perfection, in every style known to man. So, when Orpheus was a young man, as Shakespeare writes, his “golden touch could soften steel and stones, make tigers tame, and huge leviathans forsake unsounded deeps to dance on sands.” Loved by many, this young man loved only the beautiful Eurydice; and she loved him back. This is the story of their tragic love. The Death of Eurydice Soon after the marriage of Orpheus and Eurydice, Eurydice died of a snake bite. Different authors tell different stories as to what led to the fatal encounter. According to the most repeated story, Eurydice fell into a serpent nest after trying to escape from a certain Aristaeus, a shepherd who began to chase her through the forest as soon as he laid his eyes upon her otherworldly beauty. -
Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
Dino Buzzati Published on Iitaly.Org (
Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) Honoring a 20th Century Renaissance Man: Dino Buzzati Natasha Lardera (October 30, 2012) Kairos Italy Theater, Casa Italiana's theater company in residence, and a leading group in the making of bilingual theater in New York City, has undergone the mission to bring Dino Buzzati's work to the United States. It organized a successful evening of literature, theater and cinema @ Casa and introduced theater performances to be held at the Cherry Lane Theater next week (weather permitting). “Each one of us has a favorite Buzzati: the author of The Tartar Steppe, the artist and illustrator or the journalist of Il Corriere della Sera.” With these words Stefano Albertini, Director of NYU's Casa Italiana Zerilli Marimò introduced an exciting evening of literature, theater and cinema to mark the 40th anniversary of the death of Dino Buzzati, a real Renaissance Man from the 20th century. The evening was designed by Kairos Italy Theater, Casa Italiana's theater company in residence, a leading group in the making of bilingual theater in New York City. Its founder and creative director, Laura Caparrotti, used Albertini's words to further explain the Renaissance man concept, explaining Page 1 of 3 Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) that Buzzati was a writer whose work was mandatory in high school so kids read his work unwillingly without really appreciating it. Those same kids discovered him later in life when no one was forcing them to read his stuff. -
Greek Religious Thought from Homer to the Age of Alexander
'The Library of Greek Thought GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER Edited by ERNEST BARKER, M.A., D.Litt., LL.D. Principal of King's College, University of London tl<s } prop Lt=. GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER BY F. M. CORNFORD, M.A. Fellow and Lecturer of Trinity College, Cambridge MCMXXIII LONDON AND TORONTO J. M. DENT & SONS LTD. NEW YORK: E. P. DUTTON tf CO. HOTTO (E f- k> ) loUr\ P. DOTTO/U TALKS ) f^op Lt=. 7 yt All rights reserved f PRINTED IN GREAT BRITAIN TO WALTER DE LA MARE INTRODUCTION The purpose of this book is to let the English reader see for himself what the Greeks, from Homer to Aristotle, thought about the world, the gods and their relations to man, the nature and destiny of the soul, and the significance of human life. The form of presentation is prescribed by the plan of the series. The book is to be a compilation of extracts from the Greek authors, selected, so far as possible, without prejudice and translated with such honesty as a translation may have. This plan has the merit of isolating the actual thought of the Greeks in this period from all the constructions put upon it by later ages, except in so far as the choice of extracts must be governed by some scheme in the compiler's mind, which is itself determined by the limits of his knowledge and by other personal factors. In the book itself it is clearly his business to reduce the influence of these factors to the lowest point; but in the introduction it is no less his business to forewarn the reader against some of the consequences. -
Duke Certamen 2018 Intermediate Division Round 1
DUKE CERTAMEN 2018 INTERMEDIATE DIVISION ROUND 1 1. Which emperor reformed the Praetorian Guard, replacing it with his loyal provincial troops upon his ascension? SEPTIMIUS SEVERUS B1: At which city did his troops declare Severus emperor? CARNUNTUM B2: Which of his two main rivals did Severus defeat first? PESCENNIUS NIGER 2. Differentiate in meaning between lupus and lepus. WOLF and HARE / RABBIT B1: Give a synonym for the animal bōs. VACCA / VITULA B2: Give either Latin animal from which we derive “porpoise.” PORCUS or PISCIS 3. Europa, Minos, Procris, and Amphitryon all owned what infallible hunting hound? LAELAPS B1: What husband of Procris tried to use Laelaps to hunt the Teumessian vixen? CEPHALUS B2: According to Hyginus, Cephalus was the father of what Ithacan man? LAERTES 4. Give the Latin and English for the abbreviation Rx. RECIPE – TAKE B1: If your prescription label tells you to take your medication prn., how often should you take it? AS NEEDED B2: Give the Latin and English for the abbreviation gtt. GUTTAE – DROPS 5. Translate the following sentence from Latin to English: Mulierēs quae ducēs factae erant fortiōrēs quam omnēs erant. THE WOMEN WHO HAD BECOME / BEEN MADE LEADERS WERE STRONGER / BRAVER THAN ALL B1: Translate this sentence: Hannibal ipse cum hīs mulieribus pūgnāre nōluit. HANNIBAL HIMSELF DID NOT WANT TO FIGHT (WITH) THESE WOMEN B2: Finally translate: Urbe servātā dūcibus triumphī ā cīvibus datī sunt. AFTER THE CITY WAS SAVED / WITH THE CITY HAVING BEEN SAVED, TRIUMPHS WERE GIVEN TO/FOR THE LEADERS BY THE CITIZENS 6. What son of Cephissus and Liriope fell in love with his own reflection, died of starvation, and was turned into a flower? NARCISSUS B1. -
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. -
Durham E-Theses
Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school. -
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. -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
ORPHEUS and EURYDICE Being His Music and His Deep Yearning for Her
Educational Calliope Kyrdi material included and Eu eus ryd ph ice Or The world was born out of love, and it was out of love that it almost perished. Not just once. At the dawn of time, the love that gods and mortals felt for each other Illustrated by was so strong and powerful that it could defy the laws of Sandra nature. Such was the love Orpheus felt for his sweetheart Eleftheriou Euridice, who died an untimely death. So he ventured to the world of the dead to bring her back, his only weapons ORPHEUS AND EURYDICE being his music and his deep yearning for her. This series offers a new reading of the ancient Greek myths. They are not old, worn-out stories, but gripping tales of timeless human adventures, containing all the fears and joys that have marked and continue to mark the human soul. Calliope Kyrdi L O ISBN: 978-618-03-1455-7 V E S AUXIL. COMPU. CODE 81455 T ORIES 9748_orfeas k eyridiki_CV.indd 1 15/03/2018 15:25 nce upon a time, Calliope the OMuse, a minor deity who in- spired poets with beautiful words and ideas to write the greatest po- ems, fell in love with Oeagrus, the handsome and powerful King of Thrace. They had a love child, Orpheus, who grew up in the leafy forests and evergreen mountains of Thrace. Now Orpheus was a child blessed by the Fates with many gifts and talents. He lis- tened to the wind, the waves, the rustling leaves, the birdsong, and all the secret sounds of nature and turned ev- erything into enchanting melo- dies. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.