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Mythological Intertextuality in Nineteenth Century Ballet Repertory
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. .......................................... -
Patinkas to Go with Our Beautiful Engraved Sets of Five Gemstone Elemental Stones©
.!Qbujolbt!.! This Fact Sheet has been created by Patinkas to go with our beautiful engraved sets of five gemstone Elemental Stones©. About Elementals An Elemental is a spirit of nature, embodying four of the five elements of Earth, Water, Air, and Fire. Ether does not have a specific elemental spirit associated with it. All of the five elements are combined in different proportions to make up the whole of creation and all are, therefore, present in us. The energetic essence of elementals is quite unique and unlike anything else in the intangible realms. It is said that they are responsible for creating, sustaining, and renewing all life on Earth. When we work with the five elements and Elemental spirits, we connect with their realms and associated energies, benefiting from these vibrations and balancing those elements within ourselves. Water Undines are the elemental of water; the spirits of the water world. They hail from the West and their Archangel is Gabriel. One of the earliest references goes back to ancient Greece and a clan of nymphs called Oceanides who dwelled in the waters of the world. Mythology says that they were the daughters of Titan and his wife Tethys. They were well known to sailors and sea farers as generally benign spirits who could be called on for safe passage in troubled waters or to aid in navigation. To cross one, however, was to be avoided at all costs, as their wrath could whip up a destructive tempest. In European folklore, Undines were said to be the itinerant spirits of bereft women; wounded through unrequited or lost love. -
The Supernatural Machinery of the Rape of the Lock
R.B.PATIL The Supernatural Machinery of The Rape Of The Lock Introduction Use of supernatural machinery has been one of the prominent and traditional features of an epic. In “The Rape of the Lock”, Pope has skillfully and artistically used this machinery. The 1712 version of the Rape of lock was in two Cantos. The emphasis in this version is chiefly on the quarrel between Belinda (Historically Miss Arabella Fermor) and the Baron (Historically Robert Lord Petre). But the immense popularity of the poem inspired the Pope to enlarge it in to five Cantos. In this second version he used supernatural machinery extensively. He added the supernatural machinery of sylphs, gnomes and also the episode of the Cave of Spleen. In his dedicatory letter to miss Arabella Fermor, Pope writes “the Machinery, Madam is term invented by critic to signify that part which the deities, angels or demons are made to act in a poem” The Principal source of Pope Supernatural Machinery The supernatural machinery of the poem is derived from the Rosicrucian Doctrine as formulated by Le Comte in Germany in the 17th century. According to this theory four elements – Fire, Water, Earth& Air, were inhabited by four kinds of spirits–Salamanders, Nymphs, Gnomes and Sylphs. In this poem Pope does not put all these spirits to function but simply Sylphs & an evil spirit Umbrid are put in action. The Sylphs are presented as tiny good spirits with wings. They are airy and invisible to the human eyes . Other Sources Pope did not rely solely on the Rosicrucian theory of spirits. -
The Mountain Sylph: a Forgotten Exemplar of English Romantic Opera
The Mountain Sylph: A Forgotten Exemplar of English Romantic Opera Rodney Stenning Edgecombe The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 26-39 (Article) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25463 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] The Mountain Sylph: A Forgotten Exemplar of English Romantic Opera rodney stenning edgecombe hree years after his second cousin, Giacomo Meyerbeer, brought Robert le Tdiable to the stage in 1831 (at the same time launching the career of the bal- lerina Marie Taglioni through its spectral ballet), the English composer John Barnett mounted his opera The Mountain Sylph at the Lyceum Theatre in Lon- don. The libretto, by one T. J. Thackeray, was even more closely connected with Taglioni than Barnett was with Meyerbeer, because it versified the plot of La sylphide (1832), the scenario of which tenor Adolphe Nourrit, the first Robert, had devised especially for his balletic costar. Although in his New Grove article on Barnett, Nicholas Temperley remarks that Thackeray’s libretto derived “from German folklore,” this is only partly true.1 Nourrit had loosely based La sylphide on a story by Charles Nodier, Trilby, ou Le lutin d’Argail (a Franco-Celtic enter- prise, therefore), swapping the genders of the protagonists (a goblin and a fisherman’s wife in Nodier; a sprite and a farmer in the ballet). More impor- tant, Nourrit reconceived the supernatural figure in terms derived from the Swiss physician Paracelsus and drew on the latter’s secondary mythology of the sylph (which probably portmanteaus “nymph” with “sylvestris”) instead of the primary figures of fairies or nymphs. -
Studia Celtica Fennica No. XIV 2017
Studia Celtica Fennica No. XIV 2017 STUDIA CELTICA FENNICA XIV 2017 CONTENTS Esipuhe | Editorial 5 Phillip A. Bernhardt-House Binding the Wolf, Leashing the Hound: Canid Eschatologies in Irish and Norse Myth 7 George Broderick The Last Native Manx Gaelic Speakers. The Final Phase: ‘Full’ or ‘Terminal’ in speech?* 18 John R. Collis Celts Ancient and Modern: Recent Controversies in Celtic Studies 58 Grigory Grigoryev Bachal Ísu: the Symbolism of St. Patrick’s Crosier in Early-Medieval Irish Hagiography 71 Mikhail Kiselev Some Notes on the Origin of the Motif of the Ulaid’s False Beards in Cáth Áenaig Macha and Cóir Anmann 85 Ksenia Kudenko Tochmarc Moméra as Echtra to the Otherworld 92 Eugene McKendry Celtic Languages in Education in the United Kingdom’s Devolved Jurisdictions of Northern Ireland, Wales, and Scotland 111 Kevin Murray H and the First Recension of the Táin 127 Joseph Falaky Nagy The Pride of Heroes and the Problems of Readers of Medieval Celtic Literature 139 Tomás Ó Cathasaigh The Ulster Exiles and Thematic Symmetry in Recension I of Táin Bó Cúailnge 154 Jouna Pyysalo A Minor Sound Law for Celtic: PIE *VNHK → OIr. Vcc: OCymr. Vnc 170 KIRJA-ARVOSTELUJA – BOOK REVIEWS 183 Esipuhe Tämän Studia Celtica Fennican numeron artikkelit perustuvat Helsingissä 24.- 26.8.2016 järjestetyssä XV International Symposium of Societas Celtologica Nordica –symposiumissa pidettyihin esitelmiin. Symposiumi juhlisti Suomen Keltologisen Seuran 25-vuotista taivalta ja siihen osallistui noin 50 tutkijaa Suomesta, Ruotsista, Norjasta, Venäjältä, Irlannista, Skotlannista, Englannista, Pohjois-Irlannista, Yhdysvalloista, Belgiasta, Itävallasta ja Sveitsistä. Kolmen päivän aikana pidettiin 28 esitelmää ja lisäksi saimme nauttia kuudesta keynote- esitelmästä, jotka pitivät Máire Herbert, John Carey, Robin Chapman Stacey, Tomás Ó Cathasaigh, Jan Erik Rekdal ja Joseph Nagy. -
"Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1987 "Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market" David Frederick Morrill College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Morrill, David Frederick, ""Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market"" (1987). Dissertations, Theses, and Masters Projects. Paper 1539625393. https://dx.doi.org/doi:10.21220/s2-fmc6-6k35 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "TWILIGHT IS NOT GOOD FOR MAIDENS": VAMPIRISM AND THE INSEMINATION OF EVIL IN CHRISTINA ROSSETTI'S GOBLIN MARKET A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by David Frederick Morrill 1987 ProQuest Number: 10627898 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. Also, if material had to be removed, a note will indicate the deletion. -
Light Kung Fu Girl Summoners War
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Shakespeare's Language in Millais's Ferdinand Lured by Ariel
69 “My Ariel, chick, […] Be free, and fare thou well!”: Shakespeare’s Language in Millais’s Ferdinand Lured by Ariel (1849−50) Naoko Asano I. Introduction Often overshadowed by the glory of Ophelia (1851-52) and later portrayal and fancy paintings as it is, Ferdinand Lured by Ariel (1849-50) is a vivid proof of John Everett Millais’s brief engagement in fairy painting during its “Golden Age between 1840 and 1870” (Maas 11). Ferdinand is the artist’s first and last venture into this genre and a very experimental composition from his early Pre-Raphaelite career. An admirer of a caricaturist, Richard “Dicky” Doyle (Hunt; Millais), and a lifelong friend of Joseph Noel Paton as he was, Millais had never created any work of the genre after Ferdinand so that he has rarely been considered as a prominent example of the Victorian fairy painters. Yet Ferdinand stands out as unconventional representation of ethereal subjects among all numerous compositions from this category. It depicts ethereal figures including “tricksy” Ariel in completely different ways from precedent and contemporary representations which depict “graceful human pigmies” (Hunt 399). Millais conceived an unconventional fairy painting, which were derived from nothing other than Shakespeare’s language. This paper is an attempt to highlight John Everett Millais’s Ferdinand Lured by Ariel as a departure from conventional representations of The Tempest in the fairy genre. Ferdinand is a crucial painting in the longstanding career of the artist. It is one of the first Shakespearean works by Millais in his whimsical, Pre-Raphaelite style and demonstrates the elaborate depiction of Studies in Victorian Culture, No. -
Staging Cinderellas: Examining Nineteenth-Century Ideas of the Victorian Ballet-Girl in Miss Clara Webster and Jane Eyre ___
Staging Cinderellas: Examining nineteenth-century ideas of the Victorian ballet-girl in Miss Clara Webster and Jane Eyre ___ FIONA BRADBURY This article examines nineteenth-century ideas of Victorian ballet-girls, exploring these in nineteenth- century art and literature. The artefacts presented – G. A. Turner’s aquatint, Miss Clara Webster, and Charlotte Brontë’s novel, Jane Eyre – at first suggest opposing ideas respecting Victorian ballet- girls, in the hallowed figure of real-life Clara or the condemned figure of fictional Céline. Neither artefact can directly address the real hardships Victorian ballet-girls faced, like danger of fire from gas foot-lights, societal judgment, or girls’ objectification through ballet’s fantastical iconography. Reality for working girls in Victorian England (including governess Jane, likened to Rochester’s preferred ballet-girl type) was more precarious than Brontë’s tale and Turner’s aquatint convey. I suggest that both artefacts pity the Victorian ballet-girl, challenging prejudice. Brontë also indicates the problem of ballet iconography affecting men’s interpretation of women, and through Jane, stresses the importance of women being seen, understood, and appreciated for their individual human qualities. A. Turner’s aquatint Miss Clara Webster (1845) and Charlotte Bronte’s̈ G. novel Jane Eyre (1847) both challenge Victorian attitudes to the ballet and working ballet-girls. The term ‘ballet-girl’ (in contrast with twentieth-century term ‘ballerina’) stipulates girlishness as a pre-condition (Céline Varens, in Jane Eyre, is also called ‘opera-girl’).1 The iconography of Romantic ballet, with its sylphs, fairies, et al., gloried in girlish purity. This dictated the representation of real-life ballet-girl Clara in Miss Clara Webster, and the tone of Victorian tributes she received at her death, as well as the terms that fictional Jane Eyre understands can create romantic success with Rochester. -
The DRUIDISM Root and Its FRUITS
The DRUIDISM Root and Its FRUITS Historical background and prayer of renunciation. Amanda Buys’ Spiritual Covering This is a product of Kanaan Ministries, a non-profit ministry under the covering of: • Roly, Amanda’s husband for more than thirty-five years. • River of Life Family Church Pastor Edward Gibbens Vanderbijlpark South Africa Tel: +27 (0) 16 982 3022 Fax: +27 (0) 16 982 2566 Email: [email protected] There is no copyright on this material. However, no part may be reproduced and/or presented for personal gain. All rights to this material are reserved to further the Kingdom of our Lord Jesus Christ ONLY. For further information or to place an order, please contact us at: P.O. Box 15253 27 John Vorster Avenue Panorama Plattekloof Ext. 1 7506 Panorama 7500 Cape Town Cape Town South Africa South Africa Tel: +27 (0) 21 930 7577 Fax: 086 681 9458 E-mail: [email protected] Website: www.kanaanministries.org Office hours: Monday to Friday, 9 AM to 3 PM Kanaan International Website Website: www.eu.kanaanministries.org Preface These prayers have been written according to personal opinions and convictions, which are gathered from many counseling sessions and our interpretation of the Word of GOD, the Bible. In no way have these prayers been written to discriminate against any persons, churches, organizations, and/or political parties. We ask therefore that you handle this book in the same manner. What does it mean to renounce something? To renounce means to speak of one’s self. If something has been renounced it has been rejected, cut off, or the individual is refusing to follow or obey. -
A Diminutive People Who Dwell Deep Within the Black Shroud, Sylphs Resemble Delicate Dolls Wrapped in Vibrant Leaves. They Aren
Sylph A diminutive people who dwell deep within the Black Shroud, sylphs resemble delicate dolls wrapped in vibrant leaves. They aren’t adept to physical combat but rely on more magic, illusions and healing abilities to fend themselves from their enemies. Sylphs, being numerous around the Eastern Black Shroud and having the best relationship with the city-states of all of them. They speak a broken form of the common language and never use terms such as "I" or "We", opting for terms such as "The Woken Ones", "The Metal Ones", "The Seedy Ones", etc. They nest in Moonspore Grove, which is blocked off by boulders. The pathways to the Grove have many sylphs that can be engaged in combat, and their houses can be easily seen glowing from tree trunks. A ground structure called the Goldleaf Dais can also be found in this area. Due to the invasion of the Garleans in the Twelveswood and the following Calamity, some sylphs resorted to summoning Ramuh, the lightning-aspected primal. These sylphs have been 'touched', changing to a purple hue, and are fiercely defensive of their territory, only venturing outside to bring back untouched sylphs (which remain a green hue) into their fold. The untouched sylphs have since fled to a village called Little Solace, with the support of Gridania. Although all feminine in appearance, sylphs are a dual-gendered species whose names reflect their gender. All male Sylph's names end in with "xio" while all female Sylph names end in "xia." Sylph Racial Traits • Ability Score Racial Traits: Sylphs are quick to move around, very open to talk and form bonds with but are very physically weak. -
Baroque Lorca: an Archaist Playwright for the New Stage Defines Federico García Lorca’S Trajectory in the Theater As a Lifelong Search for an Audience
Baroque Lorca Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca’s trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created for the theater, in direct response to the conditions of his con- temporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradi- tion of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca’s different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly’s Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristóbal) and the two ‘human’ farces The Shoemaker’s Prodigious Wife and The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of ‘impossible’ theater (The Public); his most explicitly political play, one that takes the violence to the spectators’ seats (The Dream of Life) and his three plays adopting, an altering, the contemporary formula of ‘rural drama’ (Blood Wedding, Yerma and The House of Bernarda Alba). Andrés Pérez-Simón is an Associate Professor of Spanish at the Univer- sity of Cincinnati. He has published essays on world literature, drama, film and literary theory.