Phèdre by Jean Racine in a Version by Ted Hughes
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Ekaterina Avaliani (Tbilisi) *
Phasis 2-3, 2000 Ekaterina Avaliani (Tbilisi) ORIGINS OF THE GREEK RELIGION: MINOAN AND MYCENAEAN CULTURAL CONVERGENCE Natw"ally, the convergence of Minoan and Mycenaean ethno-cultures would cause certain changes in religious consciousness. The metamorphosis in religion and mentality are hard to explain from the present perspective. During this process, the orientation of Minoan religion might have totally changed (the "victorious gods" of Achaeans might have eclipsed the older ones ofMinoans).1 On the other hand, the evidence of religious syncretism should by no means be ignored. Thus, based on the materials avail able, we may lead our investigation in the following directions: I. While identifying Minoan religious concepts and cults, we should operate with: a) scenes depicted on a11ifacts; b) antique written sources and mythopoetics, which have preserved certain information on Minoan religious concepts and rituals.2 2. To identify gods of the Mycenaean period, we use linear B texts and artifacts. It is evident that the Mycenaean period has the group of gods that are directly related to Minoan world, and on the other hand, the group of gods that is unknown to pre-Hellenic religious tradition. And, finally, 3.We identify another group of gods that reveal their syncretic nature already in the Mycenaean period. * * * Minoan cult rituals were tightly linked to nature. Cave dwellings, mountains and grottos were the charismatic spaces where the rituals were held.3 One of such grottos near Candia was related to the name of Minoan goddess Eileithyia.4 Homer also mentions Eileithyia. The goddess was believed to protect pregnant women and women in childbirth.5 Also, there might have been another sacred place, the top of a hill - Dikte, which was associated with Minoan goddess Diktunna (Dikte - "Sacred Mountain").6 Later in Greek mythology, the goddess assimilated to Artemis ("huntress") (Solinus II . -
Agnese Discusses Guns, Progress by Stephen M
VOL. 116. NO. 4 www.uiwlogos.org October 2015 Agnese discusses guns, progress By Stephen M. Sanchez LOGOS NEWS EDITOR The University of the Incarnate Word community will be polled to get its views on the state’s new law allowing concealed guns on campus but UIW will likely opt out, the president said. Dr. Louis J. Agnese Jr., who’s been president 30 years, shared this with those who attended his annual “State of the University” address on Oct. 6 at CHRISTUS Heritage Hall. Agnese also gave a mostly upbeat report on the university’s growth in his “Looking Ahead to 2020” PowerPoint presentation, pointing out how UIW has grown from 1,300 students and a budget of $8 mil- lion when he first became president in 1985 to its 11,000 students globally and budget in the hundreds of millions today. He’s seen a small college morph into the fourth-largest private school in the state and the largest Catholic institution in the state. UIW currently has 10 campuses in San Antonio, one in Corpus Christi, and another in Killeen. The university also contracts with 144 sister schools overseas in its Study Abroad program. More than 80 majors are offered including bachelor’s, master’s and doctoral degrees. UIW also has professional schools in pharmacy, optometry and physical therapy with a School of Osteopathic Medicine set to open in fall 2017 at Brooks City Base. UIW students also receive more than $150 million annually in financial aid. - Cont. on page 2 Stephen M. Sanchez/ LOGOS NEWS EDITOR -Agnese discusses progress. -
Walesa, Wife Mum During Questioning
Watkins, WHIhIde Washington’s victory Kong reclaims honored; board chosdn Inspires black hopes building perch ... pages 4,20 page 5 ... page 7 Fair tonight. Manchester, Conn. Becoming cioudy Friday. Thursday, Aprii 14, 1983 - See page 2 Singie copy; 25C Walesa, wife mum T71 NEW WORK MEW SHOP MAKEiSF during questioning NEW FEMALE NEW DRESSING NEW .1 REHEARSAL/ RM MALE CXIStMO By Bogdan Turek MEETING RM DRESSING STAIft RM TOWCR lJ0RE£# United Press International J-L. GDANSK, Poland — Danuta Walesa, wife of former Solidarity leader Lech Walesa, was questi C 0 R R I D oned by police for 2'/4 hours today about her husband’s secret meet ings with underground union leaders. A family spokesman said Mrs. Plan by Maimfeldt Associates Walesa returned home after her e interrogation but refused com BASEMENT PLAN OF CHENEY HALL ment until she had a chance to talk . most of the interior changes wili be made here with her husband and his advisers. Mrs. Walesa was subpoenaed to appear at militia headquarters in Gdansk one day after her husband was questioned for nearly five hours about his three-day meeting Architect tells how last weekend with the underground i - The spokesman said the militia UPI photo wanted more details about Wale sa’s disclosure that he took part in DANUTA AND LECH WALESA REUNITED the secret talks with Solidarity . after Walesa was interrogated he'd do Cheney Hall activists. The union chairman's wife was served with a formal warrant to Eventually, alter a threat to with the underground, he fumed. summon his wife, Danuta, for “ I didn't answer at all.” By Alex OIrelH Finegold, the firm that did the study of the Cheney appear before militia interroga tors. -
Finding Empathy for Phaedra in Roman Wall Paintings Phaedra, the Daughter of Minos, Sister of Ariadne, Wife of Theseus and Stepm
Finding Empathy for Phaedra in Roman Wall Paintings Phaedra, the daughter of Minos, sister of Ariadne, wife of Theseus and stepmother of Hippolytus, attempted an affair with Hippolytus, committed suicide, and orchestrated Hippolytus’ murder by means of his father Theseus. Phaedra’s actions and their results are condemnable acts to the modern audience and would have likely been seen as such by Roman viewers who encountered images of Phaedra on the walls of Roman houses and on sarcophagi. However, I think it possible that the representations of Phaedra in Greco-Roman antiquity were not solely meant to point to all of her mistakes as a disloyal wife. My goal in this paper is to show that, despite Phaedra’s reputations as a terrible wife, representations of her in Roman private art were designed to invoke empathy in the hearts and minds of Roman viewers. Phaedra is well known through her literary treatment in both Euripides’ Hippolytus and Ovid’s Heroides IV. Phaedra and her myth are also frequently represented in Roman private art. Wall paintings from Pompeii and Herculaneum dating from the late first century BCE to the late first century CE feature a seated Phaedra by her nurse who often holds the letter to Hippolytus in her hand. In some examples Hippolytus is also depicted leaving the scene, presumably after he has received the letter and rejected Phaedra’s offer. Phaedra was repeatedly chosen to be portrayed in Roman homes as an example of consuming love, whether by a god’s influence or her own choice, not condemnable betrayal of her husband and household. -
Don-Juan Canto III Annotated
Don Juan CANTOÛ III Gordon, Lord Byron Annotations by Peter Gallagher¤ April, 2015 You can find the free audio-book of Canto 1 of Don Juan on the iBooks Store Û ¤ [email protected] Canto 3 I Hail Muse ] Finally, at the start of Canto III, Byron gets around to invoking the Muse: the traditional way to start an Epic poem HAIL, Muse! et cetera.—We left Juan sleeping, and, briefly, to foreshadow its subject. But Byron’s invocation is no Pillowed upon a fair and happy breast, more than a sardonic nod to the idea; a sort of poetic blasphemy. Compare, for example, Homer’s Iliad (first seven lines), or Odyssey And watched by eyes that never yet knew weeping, (first ten lines) or Virgil’s Æneid (first eleven lines). Or, again, And loved by a young heart, too deeply blest Paradise Lost, where Milton’s invocation to his “Heavn’ly Muse” occupies the first twenty-six, breathless, lines. To feel the poison through her spirit creeping, Byron’s first draft of Canto III, before he split it into two Can- Or know who rested there, a foe to rest, tos, began with a nine-verse attack on Wellington; later moved Had soiled the current of her sinless years, to Canto IX. This verse, in that earlier draft, began: “Now to my Epic. ” And turned her pure heart’s purest blood to tears! A foe to rest ] The “foe to rest” refers to the “who” of the previous sentence. It is “Love”, addressed in the next verse, that II rests in her heart and has “soiled the current of [Haidee’s] sinless years. -
Conquering the Colon: the Adventure of Advanced Punctuation
Oregon State Bar Bulletin — APRIL 2010 April Issue The Legal Writer Conquering the Colon: The Adventures of Advanced Punctuation By Suzanne E. Rowe Perhaps the only punctuation mark more terrifying than the semicolon is the colon. Most writers avoid the colon for fear of misusing it. Most readers feel intimidated by the brave writer who dared try to master the colon’s nuances. When is a colon appropriate? How many spaces follow it? Does the word after a colon need to be capitalized? This article will bring you closer to conquering your fear of the colon. When to Use a Colon Colon usage varies from the exciting to the mundane. In the first two explanations below, think of the colon as the pause — or the drum roll — between an introduction and the exciting details. Picture someone on stage with an envelope saying, “And the winner is…!” The remaining explanations are more mundane, but perhaps easier. Lists One common use of a colon is to introduce a list. The nominees for best actress were impressive: Sandra Bullock, Helen Mirren, Carey Mulligan, Gabourey Sidibe and Meryl Streep. Be sure that the introductory sentence preceding the colon is truly a sentence. A colon would be incorrect in the following example. The nominees were Sandra Bullock, Helen Mirren, Carey Mulligan, Gabourey Sidibe and Meryl Streep. Independent clauses In the use that inspires the most fear, a colon separates two independent clauses when the second clause expands or illustrates the idea in the first clause. (Remember that an independent clause is just a complete sentence.) The drum roll — the colon — comes after the first sentence. -
Durham Research Online
Durham Research Online Deposited in DRO: 09 October 2017 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Bexley, E. M. (2011) 'Show or tell? Seneca's and Sarah Kane's Phaedra plays.', Trends in classics., 3 (2). pp. 365-393. Further information on publisher's website: https://doi.org/10.1515/tcs.2011.016 Publisher's copyright statement: The nal publication is available at www.degruyter.com Additional information: 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 DRO • 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 DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 1 Show or Tell? Seneca’s and Sarah Kane’s Phaedra Plays Abstract: This article analyzes the Senecan background to Sarah Kane’s Phaedra’s Love by focusing upon both playwrights’ predilections for graphic violence and sexual content. Kane’s version of the Phaedra story presents sex, death and mutilation as acts that often defy meaning – these phenomena have such a strong experiential impact that they are slow to move into the referential realm of sign and symbol. -
Everything's Coming up Roses for Actor Dominic Cooper. the 29-Year-Old
Everything’s coming up roses for actor Dominic Cooper. The 29-year-old star of The History Boys has ditched the classroom for jailbreaks photography Toyin with Brian Cox, Abba tunes with Meryl Streep and sex scenes with Keira Knightley. If only he could forget about his upcoming birthday, he tells Matt Mueller Black tuxedo and white shirt by Dolce & Gabbana, Bow tie by Tom Ford “In the final number ofMama Mia!, we’re all wearing outrageous spandex suits – mine’s pink and opened down to there,” he says, motioning to his waistline. “It could be the end of my career but, you know, anything goes.” Any way you slice it, this There’s no doubt this vulnerability His other major role comes opposite will be a year to remember caught the eye of Nicholas Hytner, the Keira Knightley in Saul Dibb’s The for Dominic Cooper. Turning 30; National Theatre svengali who Cooper Duchess, playing aristocratic MP Earl buying a flat away from the southeast can thank for his career. Plucking the Grey, who conducted a passionate affair London neighbourhood where he’s laid actor straight from drama school, Hytner with 18th-century scandal magnet the tracks his entire life; and starring in three cast him in swift succession in Mother Duchess of Devonshire. According to couldn’t-be-more-dissimilar films, any Clap’s Molly House, as Will in His Dark Cooper, his sex scenes with Knightley were one of which could propel him to the big Materials and, of course, The History “damn good fun” but his behaviour during league of Brit stars currently occupied by Boys. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Marins Sous La Coupole
Marins sous la Coupole Le 22 juin 1989 dans son discours d’accueil de Jacques-Yves COUSTEAU à l’Académie française l’académicien Bertrand Poirot-Delpech déclarait : "Vous voilà le septième officier de la Royale à prendre le Quai Conti à l’abordage, après l’amiral d’Estrées en 1715, l’amiral de la Gravière en 1888, Pierre Loti en 1891, Maurice de Broglie en 1934, Claude Farrère en 1935, et, en 1936, l’amiral Lacaze, ministre de la Marine pendant la Grande Guerre, cet amiral un peu coléreux, à qui Henri Mondor, en bon médecin, lança un jour, pour prévenir un coup de sang : « Amiral, attention à vos vaisseaux ! » Il avait omis l’amiral Jean-Baptiste-Henri de VALINCOUR élu en 1699 et il faut rajouter Michel Serres élu académicien en 1990 ce qui porte à neuf le nombre d’officiers de marine "Immortels". http://www.academie-francaise.fr 1699 Jean-Baptiste-Henri de VALINCOUR (1653-1730) Historiographe, amiral Élu en 1699 au fauteuil 13 Prédécesseur : Jean RACINE Successeur : Jean-François LERIGET de LA FAYE Né à Paris, le 1er mars 1653. Secrétaire des commandements du comte de Toulouse, prince du sang et grand amiral, il fut historiographe de France. Écrivain et poète de peu de valeur, il fut l’ami fidèle de Racine et de Boileau : il était dépositaire du manuscrit de la Vie de Louis XIV par Racine ; cette pièce précieuse fut brûlée, en 1726, dans l’incendie qui dévora les sept ou huit mille volumes formant la bibliothèque de Valincour. Élu le 30 mai 1699 en remplacement de Racine, il fut reçu par La Chapelle le 27 juin suivant, et harangua, comme directeur, le roi Louis XV lorsqu’il visita l’Académie le 22 juillet 1719. -
Michelle, My Belle
JUDY, JUDY, JUDY ACCESSORIES: Luxury handbag brand Judith Leiber introduces a WWDSTYLE lower-priced collection. Page 11. Michelle, My Belle A rainbow of color may have populated the red carpet at this year’s Oscars, but Best Actress nominee Michelle Williams went countertrend, keeping it simply chic with a Chanel silver sheath dress. For more on the Oscars red carpet, see pages 4 and 5. PHOTO BY DONATO SARDELLA 2 WWDSTYLE MONDAY, FEBRUARY 28, 2011 Elizabeth Banks Livia with Tom Ford. and Colin eye Firth. Claire Danes in Chanel with Hugh Dancy Emma Stone in at the Chanel Chanel at the Jennifer dinner. Chanel dinner. Hudson Livia and Colin Firth January Jones in Chanel at the Chanel The Endless Season dinner. Perhaps it was because James Franco — the current “What’s Harvey’s movie?” he asked. “‘The King’s standard-bearer for actor-artistes the world over — Speech’? I liked that very much.” was co-hosting the ceremony, or perhaps a rare SoCal But it wasn’t all high culture in Los Angeles this week. cold front had Hollywood in a more contemplative The usual array of fashion house- and magazine-sponsored mood than normal, but the annual pre-Oscar party bashes, congratulatory luncheons, lesser awards shows rodeo had a definite art world bent this year. and agency schmooze fests vied for attention as well. Rodarte designers Kate and Laura Mulleavy On Wednesday night — a day before the scandal that kicked things off Wednesday night with an exhibit engulfed the house and its designer, John Galliano — of their work (including several looks they created Harvey Weinstein took over as co-host of Dior’s annual for Natalie Portman in “Black Swan”) sponsored Oscar dinner, and transformed it from an intimate affair by Swarovski at the West Hollywood branch of beneath the Chateau Marmont colonnade to a Los Angeles’ Museum of Contemporary Art 150-person event that took over the hotel’s entire and an accompanying dinner at Mr. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.