Pantheatre Paris June Academy 2003 the Actaeon Book
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Classical Studies 2012 Contents Highlights
Classical Studies 2012 www.cambridge.org/classics Contents Highlights Classical studies (general)the archimedes palimpsest publications1 the archimedes palimpsest publications The and wilson tchernetska, netz, noel, reViel NetZ is Professor of classics and Professor of Philos- the Archimedes Palimpsest is the name given to a Byzantine coNteNts ophy, by courtesy, at stanford university. his books from cambridge Classical languages 4 VANDENHOUT university Press include The Shaping of Deduction in Greek Math- prayer book that was written over a number of earlier manuscripts, introduction: the Archimedes Palimpsest Project Hittite is the earliest attested Indo-European language and was the ematics: A Study in Cognitive History (1999, runciman Award), The Archimedes william noel including one that contained two unique works by Archimedes, Transformation of Early Mediterranean Mathematics: From Problems language of a state which flourished in Asia Minor in the second PArt 1 the mANuscriPts to Equations (2004), and Ludic Proof: Greek Mathematics and the unquestionably the greatest mathematician of antiquity. sold at THE Alexandrian Aesthetic (2009). he is also the author of a multi-volume millennium BC. This exciting and accessible new introductory course, euchologion translation of and commentary on the works of Archimedes, also auction in 1998, it has since been the subject of a privately funded Archimedes: treatises (codex c) with cambridge, the first volume of which, The Two Books On the PwhichA canlim be used in both trimesterP sestand semester -
Greek God Pantheon.Pdf
Zeus Cronos, father of the gods, who gave his name to time, married his sister Rhea, goddess of earth. Now, Cronos had become king of the gods by killing his father Oranos, the First One, and the dying Oranos had prophesied, saying, “You murder me now, and steal my throne — but one of your own Sons twill dethrone you, for crime begets crime.” So Cronos was very careful. One by one, he swallowed his children as they were born; First, three daughters Hestia, Demeter, and Hera; then two sons — Hades and Poseidon. One by one, he swallowed them all. Rhea was furious. She was determined that he should not eat her next child who she felt sure would he a son. When her time came, she crept down the slope of Olympus to a dark place to have her baby. It was a son, and she named him Zeus. She hung a golden cradle from the branches of an olive tree, and put him to sleep there. Then she went back to the top of the mountain. She took a rock and wrapped it in swaddling clothes and held it to her breast, humming a lullaby. Cronos came snorting and bellowing out of his great bed, snatched the bundle from her, and swallowed it, clothes and all. Rhea stole down the mountainside to the swinging golden cradle, and took her son down into the fields. She gave him to a shepherd family to raise, promising that their sheep would never be eaten by wolves. Here Zeus grew to be a beautiful young boy, and Cronos, his father, knew nothing about him. -
Hawes, Greta, 'Metamorphosis and Metamorphic Identity: the Myth Of
METAMORPHOSIS AND METAMORPHIC IDENTITY: THE MYTH OF ACTAEON IN WORKS OF OVID, DANTE AND JOHN GOWER Greta Hawes To speak of metamorphosis in mythological terms is usually to refer to a feature of the mythic narrative in which a character undergoes a major, and usually irrevocable, change.1 Yet myths are themselves, over time, subject to metamorphic processes and such changes are, likewise, major and irrevocable. The corpus of classical mythology has provided fertile ground for the imposition of a variety of interpretative and literary aims in the works of both classical and subsequent writ- ers. The myths which come to establish themselves within interpretative communities are those which are seen to be somehow relevant to the context of their retelling. Such relevance is not ne- cessarily attached to the form of the myth—the organisation of its narrative elements—but tends to depend on the significance deemed inherent in the myth at the point of reception. The signifi- cance of a single narrative form can change markedly with its migration through diverse interpre- tative communities and it is this flexibility of significance which allows the myth to continue to be recognised as ‘true’ in the face of changing social, poetic, moralistic and personal concerns. The story of the young hunter Actaeon, which retained a relatively stable narrative form through Latin literature and into the medieval period, provides but one example of the way in which evolving cultural and literary traditions can influence the reading of a mythological narra- tive. The story of the myth of Actaeon might just as well be traced from its earliest mentions in archaic fragments to its latest incarnations in works of Seamus Heaney and Ted Hughes, for ex- ample. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Brigham Young University
Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2018-04-01 Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons BYU ScholarsArchive Citation Wixom, Tiffany Nicole, "Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna" (2018). All Theses and Dissertations. 6741. https://scholarsarchive.byu.edu/etd/6741 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Martha M. Peacock, Chair Elliott D. Wise James R. Swensen Department of Comparative Arts and Letters Brigham Young University Copyright © 2018 Tiffany Nicole Wixom All Rights Reserved ABSTRACT Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Department of Comparative Arts and Letters, BYU Master of Arts Domenichino (1581-1641), a Bolognese artist, painted a unique interpretation of Ovid’s myth of the goddess Diana and mortal hunter Actaeon in 1616 titled, Archery Contest of Diana and her Nymphs. This image depicts the goddess and her nymphs actively engaged in various activities. This portrayal is drastically different from common depictions of the time period, in which the goddess is portrayed as vulnerable, weak, and subjected to male voyeurism. -
Titian Titian (C.488/1490 – 1576) Is Considered the Most Important Member of the 16Th-Century Venetian School. He Was One of T
Titian Titian (c.488/1490 – 1576) is considered the most important member of the 16th-century Venetian school. He was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western painting. 01 Self-Portrait c1567 Dating to about 1560, when Titian was at least 70 years old, this is the latter of two surviving self-portraits by the artist. The work is a realistic and unflattering depiction of the physical effects of old age, and as such shows none of the self-confidence of his earlier self-portrait. He looks remote and gaunt, staring into the middle distance, seemingly lost in thought. Still, this portrait projects dignity, authority and the mark of a master painter to a greater extent than the earlier surviving self-portrait. The artist is dressed in simple but expensive clothes. In the lower left corner of the canvas he holds a paintbrush. Although the presence of the paintbrush is understated, it is the element that gives legitimacy to his implied status. This is one of the earliest self-portraits in western art in which the artist reveals himself as a painter. -
Review of Titian and the Golden Age of Venetian Painting Annemarie Sawkins Marquette University, [email protected]
Marquette University e-Publications@Marquette Haggerty Museum of Art Faculty Research and Haggerty Museum of Art Publications 4-1-2012 Review of Titian and the Golden Age of Venetian Painting Annemarie Sawkins Marquette University, [email protected] Published version. Sixteenth Century Journal, Vol. 43, No. 1 (Spring 2012): 314-315. Publisher Link. © 2012 The iS xteenth Century Journal Publishers, Inc. Used with permission. 314 Sixteenth Century Journal XUII/1 (2012) without any loss of honor" (55). It is difficult to see how these conclusions are relevant to either the sophisticated works of fiction that seek to elucidate the complex intricacies of upper-class honor, or anthropological studies largely based on modern sources, such as julian Pitt-Rivers's oft-cited "Honour and Social Status:' There continues to be no evidence that the nobility litigated their honor in the courts, for to do so would have manifested the very dishonor they were seeking to make disappear and had good reasons to hide. In sum, this book looks at previously ignored data that is important, but which also must be recog nized as what it is: evidence of how the non-noble classes in a part of one small town negoti ated offenses they could litigate without losing the very honor they were litigating to defend. --"' ~ SCj ~"'- Titian and the Golden Age of Venetian Painting: Masterpieces from the National Galleries of Scotland. Ed. Edgar Peters Bowron, Andrew Butterfield, and Michael Clarke. New Haven: Yale University Press, 2010. 95 pp. n.p.ISBN 978-0-300-16685-9. REVIEWED BY: Annemarie Sawkins, Marquette ~niversity As is often the case, a major art gift, or in this case a purchase, becomes the catalyst for an important reassessment of a collection followed by an exhibition with a significant publi cation. -
Writing Greek Myth 2: Power
Re-writing Greek Myth 2: Power Jupiter as parallel for emperor Augustus Jupiter and rape: see also Io Met. 1.568-688; Semele Met. 3.268-342; and c.f. Apollo and Daphne Met 1.451-77.) Callisto Met. 2.401-530 - Jupiter, Diana and Juno Actaeon Met. 3.148-267 - Diana N.B. Bk. 3 = Theban stories c.f. Greek versions: Semele rivalry ([Hesiod] Catalogue of Women fragment 217A & [Apollodoros] Library 3.4.4); Actaeon guilty? (Callimachus Hymn 5) Challenges Artemis (Euripides Bacchae 337-40) Compare: Daedalus and Icarus Met. 8.221-78 and: Icarus in Art of Love 2.20-98 (publ. 1 BCE): ‘boy, made over-reckless by youthful daring’ who ‘soared aloft/ too close to the sun’ (AA 2.84-5) Daedalus’ skill: Minos could ‘not clip wings of a mortal’ (97) Compare Phaethon Met. 1.803-2.361 blasted by thunderbolt (c.f. Semele) Revisited in exile: Augustus as Jupiter, Ovid as Phaethon Ovid Tristia 1.1.74-83: still I fear the gods who did me harm... Had Phaethon lived, he’d have stayed clear of those horses he once was crazy about, kept out of the sky. What scares me is Jove’s weaponry. I’ve been its target: whenever there’s thunder, I’m sure the lightning is for me. Arachne Met. 6.1-162 Minerva Contests in the Metamorphoses see also Niobe vs. Latona 6. 163–354; Pierides vs. Muses 5. 342–787; Marsyas vs. Apollo 6.435;–57) Books 3 & 4: punishment of those who deny Bacchus: Pentheus (3.511-732) IMAGES shown in class Daphne Bernini Apollo e Dafne 1622-25) Borghese Gallery, Rome http://www.galleriaborghese.it/borghese/it/dafne.htm Pollaivolo Apollo and Daphne (c.1470) -
2. Artemis/Diana Artemis at a Glance Name | Artemis Role | Goddess of The
2. Artemis/Diana Artemis at a Glance name | Artemis role | goddess of the hunt and protector of children symbols | bow, deer The goddess Artemis played an intriguing role in Greek mythology and religion. She was known as the "Mistress of Animals" and the protectress of children, but she was also a huntress and the goddess who could bring death with her arrows. Myths such as the one about Niobe show Artemis as a strong willed and powerful goddess, a female who could punish injustices against the gods with ferocious and deadly accuracy. Artemis was the daughter of Leto and Zeus (the ruler of the Greek gods). Together with her twin brother Apollo she enjoyed the status and privileges of an Olympian. And as an Olympian goddess, Artemis was free to pursue her interests, and was often found frolicking in the forests, accompanied by a band of nymphs. Myths of the Maiden Goddess Myths and legends show that the goddess Artemis was aloof and free-spirited, and not constrained by husband or hearth. Her independent nature is further reinforced in a very important way, for in mythology and religion, the goddess remained eternally a virgin. Indeed, those who in some way compromised her strict requirements for chastity were severely punished by the maiden goddess. There are several tales that describe the swift and terrible retribution of Artemis. One of the most revealing of these stories involves the youth Actaeon. In addition, Artemis was also responsible for punishing the nymph Callisto. In myth, Callisto was at one point a follower of the virgin goddess, but when she became involved in an affair with the god Zeus, Artemis had her revenge on the unfortunate nymph. -
Ovidian Metamorphosis and Nonnian Poikilon Eidos
Michael Paschalis Ovidian Metamorphosis and Nonnian poikilon eidos The issue of Nonnus’ familiarity with and use of Ovid’s Metamorphoses as a literary source has attracted and continues to attract a lot of scholarly atten- tion. In recent years the argument in favor of Ovidian influence on Nonnus has weakened considerably. Nonnus had at his disposal an enormous amount of Greek literature now lost to us and hence, as Peter Knox has pointed out, “it is a priori improbable that a Panopolitan would use a Latin poem as his source for Greek mythology, when there were so many works available in his native tongue.” 1 Nonnus’ familiarity with the Metamorphoses is not improba- ble but it is an entirely different thing to assume that he used Ovid’s epic as a source text.2 The existence of a common source for Ovid and Nonnus is commonly suggested as an alternative to Nonnus’ dependence on Ovid but the situation may turn out to be more complex.3 The parallel study of Ovid and Nonnus, independently of Quellenforschung and intertextual relations, would in my view prove more useful. It would shift attention to a more substantial comparison of Ovidian and Nonnian narratives and poetics in areas where there is common ground. Below I will attempt to do so in comparing the Proems of the Metamorphoses and the Dionysiaca and Ovid’s and Nonnus’ versions of the Actaeon episode. 1 Metamorphosis and poikilon eidos: Introduction A major issue that invites a comparison between Ovid’s Metamorphoses and Nonnus’ Dionysiaca is that both place transformation at the heart of their Knox 1988, 551. -
Nereids Naiads New Brides.Pdf
Nereids Naiads New Brides Many are familiar with the rich classical literature inspired by Greek mythology, from Homer’s Iliad and Odyssey to Euripides’ Oedipus Rex. Accounts of ancient myths like these not only gave voice to men’s fears but also justified the patriarchal customs and attitudes prevalent in their society. A deep anxiety among Greek men surrounded women’s sexual passions and the need to control them. Men often viewed unmarried virgins as wild, needing to be tamed through marriage. Men doubted, however, that this would guarantee chastity, and they still feared feminine power through sexuality. Thus, women were bound by strict social expectations that set safeguards for their sexuality through separation and seclusion. The nymph—virginal yet promiscuous, chaste yet hypersexual— embodies this anxiety. The Greek word νύμφη (numphē) not only refers to a mythical being but also a “bride.” The term was used to describe a woman soon to be married or one who had already married but had not yet had her first child. This was a time of transition for girls becoming women, leaving behind their toys for housework and children. Nymphs, too, occupied this transitional space. These sexual females living outside mainstream society represented the sex lives of new brides. This exhibition invites viewers to contemplate the constraints on feminine sexuality in two contexts: in the gynaeceum, or the women’s space of ancient Greece, and in representations of nymphs throughout art history. The gynaeceum illustrates how women were separated from the males of the household, and containing objects that would have populated it in ancient Greece. -
Ovid Pages 58-59 Pentheus.Indd
Pentheus (III. 528-733) Bacchus in his chariot - Virgil Solis, 1514-1562 58 Pentheus (III. 528-733) Pentheus has listened to Tiresias tell the story of Narcissus, but foolishly mocks the blind, old prophet, who in turn warns Pentheus about the imminent arrival of Bacchus, whose divinity he would deny and for which act he would die, as he finally learns that Tiresias sees things all too clearly. When Bacchus does arrive, Pentheus (531-563) rebukes the citizens of Thebes for allowing their city to be captured by a boy, even send- ing men to arrest the pretender. Pentheus portrays the god as definitely not male and in fact as feminine, while the citizens forget their origins as men born from a serpent’s teeth sown by Cadmusand cede their city to a boy dressed like a perfumed girl. The men return without Bacchus, but with a young man named Acoetes, who is urged by Pentheus to tell his story. In a long (582-691) and rambling (check the digression on his father and his learning to sail or the crew turning into dolphins) story, Acoetes tells how Bacchus was brought from Chios to Naxos, and how he has been the god’s devoted follower since then. Taken off to be tortured at Pentheus’ angry order, Acoetes is freed by Bacchus’ intervention in a miraculous fashion. Pentheus, driven by more anger, chooses to go to Mt. Cithaeron to see what happens there. Almost immediately he is seen and attacked by the female members of his family, two aunts (one of whom, Autonoe, had lost her son Actaeon to the anger of the goddess Diana, who was accidentally seen bathing by the unfortunate Actaeon); believing him to be a wild boar, the women tear him limb from limb.