The Orphic Mysteries 48 Joscelyn Godwin, Ph.D
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MA Issues in Modern Culture Reading List 20-21.Pdf
M.A. Issues in Modern Culture Reading List 2020–21 AUTHORS AUTUMN TERM 1. Gustave Flaubert Dr Scarlett Baron Gustave Flaubert, Madame Bovary [1857], trans. Margaret Mauldon (Oxford: Oxford University Press, 2008). Gustave Flaubert, ‘A Simple Heart’, in Three Tales [1877], trans. A.J. Krailsheimer (Oxford: Oxford University Press, 1991). Gustave Flaubert, Dictionary of Received Ideas [1913], in Bouvard and Pécuchet, with the Dictionary of Received Ideas, trans. A.J. Krailsheimer (Harmondsworth: Penguin, 1977). Further Reading: Gustave Flaubert, Selected Letters, trans. Geoffrey Wall (Harmondsworth: Penguin, 1997). Julian Barnes, Flaubert’s Parrot (London: Jonathan Cape, 1984) Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Paul Elek, 1974). Stephen Heath, Flaubert: Madame Bovary (Cambridge: Cambridge University Press, 1992). Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986). Francis Steegmuller, Flaubert in Egypt: A Sensibility on Tour [1972] (Harmondsworth: Penguin Classics, 1996). Geoffrey Wall, Flaubert: A Life (New York: Farrar, Straus and Giroux, 2001). Tim Unwin (ed.), The Cambridge Companion to Flaubert (Cambridge: Cambridge University Press, 2004). Jennifer Yee, The Colonial Comedy: Imperialism in the French Realist Novel (New York: Oxford University Press, 2016). 2. Henry James Professor Philip Horne Henry James, The Golden Bowl (1904), ed. Ruth Bernard Yeazell (Penguin Classics, 2009) This contains the ‘Preface’ to the (only very slightly different) New York Edition version of the novel (1909); the other Prefaces (collected in The Art of the Novel, ed. R.P. Blackmur, 1934; now U. of Chicago Press) Henry James, ‘The Lesson of Balzac’ (1905) Available at: https://archive.org/details/questionourspee01jamegoog/page/n9/mode/2up Secondary Reading: Nicola Bradbury, Henry James: The Later Novels (Oxford University Press, 1979). -
Lorine Niedecker's Personal Library of Books: A
LORINE NIEDECKER’S PERSONAL LIBRARY OF BOOKS: A BIBLIOGRAPHY Margot Peters Adams, Brooks. The Law of Civilization and Decay. New York: Vintage Books, 1955. Adéma, Marcel. Apollinaire, trans, Denise Folliot. London: Heineman, 1954. Aldington, Hilda Doolittle (H.D.). Heliodora and Other Poems. Boston: Houghton, Mifflin, 1924. Aldington, Richard, ed. The Religion of Beauty: Selections from the Aesthetes. London: Heineman, 1950. Alighieri, Dante. The Divine Comedy. New York: Random House, 1950. Allen, Donald M., ed. The New American Poetry: 1945-1960. New York: Grove Press, 1960. Allen, Glover Morrill. Birds and Their Attributes. New York: Dover, 1962. Alvarez, A. The School of Donne. New York: Mentor, 1967. Anderson, Charles R. Emily Dickinson’s Poetry: Stairway of Surprise. New York: Holt, Rinehart & Winston, 1960. Anderson, Sherwood. Six Mid-American Chants. Photos by Art Sinsabaugh. Highlands, N.C.: Jargon Press, 1964. Arnett, Willard E. Santayana and the Sense of Beauty. Bloomington, IN: Indiana University Press, 1957. Arnold, Matthew. Passages from the Prose Writings of Matthew Arnold, ed. William E. Buckler, New York: New York University Press, 1963. Saint Augustine. The Confessions. New York: Pocket Books, n.d. Aurelius, Marcus (Marcus Aelius Aurelius Antoninus). Meditations. London: Dent, 1948. Bacon, Francis. Essays and the New Atlantis, ed. Gordon S. Haight. New York: Van Nostrand, 1942. Basho. The Narrow Road to the Deep North and Other Travel Sketches, trans. Nobuyuki Yuasa. Baltimore: Penguin, 1966. 1 Baudelaire, Charles. Flowers of Evil. New York: New Directions, 1958. Beard, Charles A. & Mary R. Beard. The Rise of American Civilization. New York: Macmillan, 1939. Bell, Margaret. Margaret Fuller: A Biography. -
Poetics of Enchantment: Language, Sacramentality, and Meaning in Twentieth-Century Argentine Poetry
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2011 POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY Adam Gregory Glover University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Glover, Adam Gregory, "POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY" (2011). Theses and Dissertations--Hispanic Studies. 3. https://uknowledge.uky.edu/hisp_etds/3 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Memory Rings
2016 BAM Next Wave Festival #MemoryRings Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Memory Rings BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm Running time: approx. one hour & 20 minutes, no intermission Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor: Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc. Additional support provided by The Jim Henson Foundation. Memory Rings CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah -
Eugene Field's Years As. a Chicago Journalist (1883-1895)
EUGENE FIELD'S YEARS AS. A CHICAGO JOURNALIST (1883-1895) Thesis for the Degree of M. A. MICHIGAN STATE UNIVERSITY PATRICIA LILLIAN WALKER 1969 ABSTRACT EUGENE FIELD'S YEARS AS A CHICAGO JOURNALIST (1883-1895) by Patricia Lillian Walker This is a study of the historical importance and contributions of Eugene Field to the era of Chicago jour- nalism that produced such journalists and literary figures as George Ade,rFinley Peter Dunne, Theodore Dreiser, and later Carl Sandburg and Edgar Lee Masters, and such edi- tors as Melville Stone, Slason Thompson, and Wilbur Storey. Field's quick fame and definition as a children's poet has obscured his contributions as a humorist and journalist, his life-time occupation. This study re-examines Eugene Field in light of his career in journalism which reached its greatest height and importance as editorial columnist for the Chicago Daily News. It is based on the newspaper files of the Chicago Daily News, biographies, literary criticisms, and other sources of the period, and on pri- vate papers and special collections relating to Field's acquaintances. Accepted by the faculty of the School of Journalism, College of Communications Arts, Michigan State University, in partial fulfillment of the requirements for the Master of Arts degree. EUGENE FIELD'S YEARS AS A CHICAGO JOURNALIST (1883-1895) BY Patricia Lillian Walker A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS School of Journalism 1969 Copyright by PATRICIA LILLIAN WALKER 1969 ACKNOWLEDGMENTS The unpublished materials and collections and the microfilms of newspapers from the period used in this study were obtained through the permission of the Chicago Public Library and the Chicago Historical Society. -
A Brief Transcultural Reading of the Greek Myth of Orpheus and His
106 / JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS A BRIEF TRANSCULTURAL READING / 107 evoke and explain themes or philosophical concepts with the assumption that these are familiar to and accepted by the human psyche, even if the experiences described often transcend the physical self and familiar sense of place. That the history of neoclassicism and of Romantic Hellenism in the West chiefly emerged from the poet’s predilection for far-away places is well documented in the journal entries and accomplishments of travellers, A Brief Transcultural Reading of archaeologists, explorers, historians and scholars(See Webb, 1982: 3). The critical study conducted in this article seeks to elucidate how traces of the Greek Orphic myth – itself a form of journey – find their implicit lyrical conceptualisation in the the Greek Myth of Orpheus post-Romantic writings of modern Chinese poet and translator Feng Zhi 冯至 (1905- 1993), notably the Sonnets or Shisihangji 十四行集 (1942). This critical approach to the and his Quest in the Modern demystification of the sonnets of Feng Zhi brings a new key to the reading and appreciation of the modern Chinese poems, which ultimately place the author among the first experimental intellectuals of modernist writing in China during the Republican Era (1919-1949). Sonnets of Feng Zhi Although never explicitly referred to in any of the sonnets, the philosophical and transcendental concept of the Orphic myth is reminiscent of Rainer Maria Rilke’s poetry, which, as it can be seen from his literary production, the Chinese author extensively read and translated. The Orphic myth is also one of the most relevant keys to interpreting the mystic sonnets of Feng Zhi since its various Hellenic elements bear significantly on the Salvatore Giuffré other themes poetised in the sonnets. -
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. -
Sonnets to Orpheus
October 31, 2006 from RAINER MARIA RILKE SONNETS TO ORPHEUS Translated by David Hills draft of October 31, 2006 translations © 2006 David J. Hills [email protected] Please do not cite or circulate without directly contacting David Hills 1 October 31, 2006 I, 1 Da stieg ein Baum. O reine Übersteigung! O Orpheus singt! O hoher Baum im Ohr! Und alles schwieg. Doch selbst in der Verschweigung ging neuer Anfang, Wink und Wandlung vor. Tiere aus Stille drangen aus dem klaren gelösten Wald von Lager und Genist; und da ergab sich, daß sie nicht aus List und nicht aus Angst in sich so leise waren, sondern aus Hören. Brüllen, Schrei, Geröhr schien klein in ihren Herzen. Und wo eben kaum eine Hütte war, dies zu empfangen, ein Unterschlupf aus dunkelstem Verlangen mit einem Zugang, dessen Pfosten beben,— da schufst du ihnen Tempel im Gehör. 2 October 31, 2006 I, 1 A tree grew up—that’s overcoming for you! Opheus singing! Tall tree in the ear! And all fell still. But even in the stillness, A new beginning, signs of change, emerged. Creatures of silence poured out of the woods On fresh-cut paths, abandoning nests and dens. And one could tell it wasn’t out of stealth Or out of fear they kept so to themselves, But out of listening. Bellow, cry, and roar Shrank back inside them. Where before there’d been A makeshift hut or two to shelter them, A refuge now, dug out of darkest longing, Its entrance framed with trembling, sounding timbers. You built them temples in their sense of hearing. -
Ms Coll\Steegmuller Steegmuller, Francis, 1906- Papers, 1877-1979. Ca. 4,000 Items (23 Boxes, 44 Volumes, & 2 Solander Cases
Ms Coll\Steegmuller Steegmuller, Francis, 1906- Papers, 1877-1979. ca. 4,000 items (23 boxes, 44 volumes, & 2 solander cases) Biography: Author. Steegmuller is the author of books about such noted authors as Flaubert, Maupassant, and Apollonaire. He has contribured numerous short stories and articles to The New Yorker. (Columbia University A.B., 1927; A.M., 1927). He died in 1994. Summary: Letters from Somerset Maugham, Graham Greene, Edith Sitwell, Adlai Stevenson, and Jacques Lipschitz. Notes and correspondence relating to Steegmuller's books, as well as manuscripts of the books, make up part of the collection. Also, seven scrapbooks of clippings and 37 inscribed books; manuscripts and proofs for his translation of Flaubert's Madame Bovary; and two solander cases containing 155 photographs, mounted and inscribed, taken by Steegmuller on his trips to France, 1948, 1950, Italy, 1950, and the Virgin Islands, 1949. 1986 Gift: Four letters from Leonide Massine have been added, with additional material on Apollinaire, Cocteau, and Flaubert. Organization: Selected materials cataloged; remainder arranged. Cataloged correspondence: Box 1; Manuscripts by Steegmuller: Boxes 2-14; Misc. manuscripts & related correspondence: Boxes 15-18; Cocteau. Box 19; Printed materials: Box 20; Photographs: Boxes 21-22; Books from his library: Box 23; 7 scrapbooks & 37 inscribed books. Jean Cocteau: Journal transcripts are on microfilm. Donor: Gift of Francis Steegmuller, 1967, 1979, 1982, & 1986. Restrictions on use: Closed to all use except with the written permission of Shirley Hazzard Steegmuller. 1. Flaubert, Gustave, 1821-1880. 2. Maupassant, Guy de, 1850-1933. 3. Apollinaire, Guillaume, 1880-1918. 4. Maugham, W. Somerset (William Somerset), 1874-1965. -
Duino Elegies & the Sonnets to Orpheus a Dual-Language Edition
DUINO ELEGIES & THE SONNETS TO ORPHEUS A DUAL- LANGUAGE EDITION 1ST EDITION DOWNLOAD FREE Rainer Maria Rilke | 9780307473738 | | | | | Duino Elegies & The Sonnets to Orpheus: A Dual-Language Edition (Vintage International) (Paperback) Sonety do Orfeusza Hardcover. I need more Rilke! And Daphne, becoming a laurel, dares you to become the wind. Metamorphoses by Ovid. I will definitely recommend this book to poetry, classics lovers. The Elegies speak to a part of my inner self I didn't know outside words could get in to. Wir ordnens. I just don't like it when the translation sounds pretentious when it can be avoided, as it becomes in a way more about showing off as a translator and less about accuracy of language. Translator. Rainer Maria Rilke. Oh, this is strange, passionate, poetry that is concerned with music, death,love, life, ecstacy--but trying to get at those things thru language. In The Spotlight. That you know every breeze which, among the blossoms they bear, is intensified till it almost becomes a face. Published April 17th by W. Yes, there is a certain stylistic charm, probably unusual for the time, but not unusual by current standards. Jan 14, B. In letters to friends, Rilke referred to this three-week period as a "savage creative storm. About This Item. This is, without any doubt, the best English rendering of Rilke. Jan 03, Niara Martins rated it really liked it. The earth is like a child that knows poems by heart, many, o many. I was not particularly taken with his work. Sidney Keyes: A Biographical Enquiry. -
Orphic Reflections (Leon Burnett) Orpheus Sings! with This Statement
Orphic Reflections (Leon Burnett) Orpheus sings! With this statement at the start of his Sonnets to Orpheus, Rainer Maria Rilke sets in train a sequence of poems celebrating the mythological figure of Greek antiquity and his beloved companion, Eurydice. More an exclamation than a statement – O Orpheus sings! – Rilke’s words testify to the enduring significance of the magical song of Orpheus. But what kind of song is it that Orpheus sings? Above all, it’s a seductive song. It has the power to charm, to charm the whole of nature and even what lies beyond the reach of nature in the underworld, yet as with all music it has finally to acknowledge its limits, like those other dark melodies of Ancient Greece on the lips of the Sirens and the Sphinx. The Sirens and the Sphinx, however, are defeated by the cunningness of the male intelligence, whereas Orpheus, in the end, is defeated by the passivity and invisibility of Eurydice. The myth of Orpheus is as much about transformation as it is about loss. Eurydice is lost to Orpheus because death has transformed her just as death will later transform Orpheus himself into a singing head. Their fates are those of elemental beings: Eurydice is claimed by the fertile earth – in Rilke’s earlier poem “Orpheus. Eurydice. Hermes” she takes root and her sex is compared to a young flower – and Orpheus, following his dismemberment (or sparagmos, to give it its Greek name), is claimed by the flowing waters as his head floats towards Lesbos, still singing. The myth of Orpheus and Eurydice with its accentuation of the themes of loss and transformation shares interesting features with what we might call the textual sparagmos and subsequent recovery of voice that occurs in the act of literary translation. -
In Rainer Maria Rilke's the Sonnets to Orpheus
Re-visiting The Myth Of ‘Orpheus’ In Rainer Maria Rilke’s The Sonnets To Orpheus Ms. Kanchan Assistant Professor of English Department ofBasic & Applied Sciences Punjabi University Patiala, Punjab, INDIA Rainer Maria Rilke, a Bohemian-Austrian poet and art critic (4 December 1875 – 29 December 1926), is one of the significant poets in the German language. Rilke is a transitional figure in twentieth century European literature, midway between the traditional and modern movements within poetry. His work struggles with the difficulty of union with the transcendent, in an age of anxiety, disbelief, and isolation. He wrote more than 400 poems in French, dedicated to his homeland of choice, the canton of Valais in Switzerland. Rilke‘s Sonnets to Orpheus (1922) isa series of fifty-five poems indissolubly linked to Greek myth.Rilke dedicated this to Vera OuckamaKnoop, a young girl who was a talented dancer but died of leukemia as a teenager. The Sonnets are ‗little songs‘ (sonetti in Italian) sung by Orpheus, the legendary musician and poet in ancient Greek religion and myth whose divine music charmed all living things and moved inanimate objects. Overcome with grief at the death of his wife, Eurydice, Orpheus played beautiful mournful music on his lyre that the gods of the underworld allowed him to retrieve her from there on the condition that he walk in front of her on their journey back to the earth and not look back. Due to his fear of losing her again he did look back and lost Eurydice forever. In Ovid‘s version of the story Orpheus was torn apart by the Maenads, female devotees of Dionysus, during a drunken orgy when they were enraged because he had spurned the love of women since losing his wife and had taken only young men as lovers.