Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
1 Introduction the Empire at the End of Decadence the Social, Scientific
1 Introduction The Empire at the End of Decadence The social, scientific and industrial revolutions of the later nineteenth century brought with them a ferment of new artistic visions. An emphasis on scientific determinism and the depiction of reality led to the aesthetic movement known as Naturalism, which allowed the human condition to be presented in detached, objective terms, often with a minimum of moral judgment. This in turn was counterbalanced by more metaphorical modes of expression such as Symbolism, Decadence, and Aestheticism, which flourished in both literature and the visual arts, and tended to exalt subjective individual experience at the expense of straightforward depictions of nature and reality. Dismay at the fast pace of social and technological innovation led many adherents of these less realistic movements to reject faith in the new beginnings proclaimed by the voices of progress, and instead focus in an almost perverse way on the imagery of degeneration, artificiality, and ruin. By the 1890s, the provocative, anti-traditionalist attitudes of those writers and artists who had come to be called Decadents, combined with their often bizarre personal habits, had inspired the name for an age that was fascinated by the contemplation of both sumptuousness and demise: the fin de siècle. These artistic and social visions of degeneration and death derived from a variety of inspirations. The pessimistic philosophy of Arthur Schopenhauer (1788-1860), who had envisioned human existence as a miserable round of unsatisfied needs and desires that might only be alleviated by the contemplation of works of art or the annihilation of the self, contributed much to fin-de-siècle consciousness.1 Another significant influence may be found in the numerous writers and artists whose works served to link the themes and imagery of Romanticism 2 with those of Symbolism and the fin-de-siècle evocations of Decadence, such as William Blake, Edgar Allen Poe, Eugène Delacroix, the Pre-Raphaelite Brotherhood, Charles Baudelaire, and Gustave Flaubert. -
The Presence of Death in Gustave Moreau's Paintings1
The Presence of Death in Gustave Moreau’s Paintings1 Zühre İndirkaş Université d’Istanbul THIS WORK WAS SUPPORTED BY THE RESEARCH PROJECT COORDINATION Synergies UNIT OF STANBUL NIVERSITY ROJECT NUMBER I U . P : 4585 Turquie Résumé: La présence de la mort dans les oeuvres de Gustave Moreau L’objectif de cet article est d’étudier la présence de la mort dans les 69-78 n° 3 - 2010 pp. oeuvres de Gustave Moreau. Même si Gustave Moreau est considéré parmi les représentants du courant symboliste dans la peinture française du 19e siècle, de nos jours, les historiens d’art le considèrent comme un peintre d’histoire (Peinture d’Histoire). Dans les deux contextes, les images sont les reflets de ses pensées, son imagination et son caractère émotionnel.Cette situation lui permet de réfléchir sur la mort et la vie étérnelle pour les refléter dans ses oeuvres. Mots-clés : Gustave Moreau, la mort, mythologie, Oedipe, Sphinx, peinture d’histoire Özet: Gustave Moreau’nun Yapıtlarında Ölüm Gustave Moreau 19. Yüzyıl Fransız resminde sembolist akımın temsilcileri arasında yer almışsa da günümüz sanat tarihçileri tarafından tarih ressamı (Peinture d’Histoire) olarak değerlendirilir. Her iki bağlamda da Moreau’nun yapıtlarında yer alan görsel imgeler; onun inançlarının, düşüncelerinin, imgeleminin ve huzursuz kişilik yapısının yansımalarıdır. Bu durum onun sıklıkla ölüm ve ölümsüzlük üzerinde düşünmesine ve bunu yapıtlarına yansıtmasına neden olmuştur. “Oidipus ve Sfenks”, “Yolcu (Oidipus Yolcu; Ölümün Karşısında Eşitlik)”, “Genç Adam ve Ölüm”, “Ölü Şairi Taşıyan Kentaur” ölüm kavramının belirgin olarak ortaya çıktığı yapıtlardır. Özellikle “Ölü Lirler” sanatçının ve sanatının bir ağıtı (requiem) olarak nitelendirilir. Öte yandan “Ölüm Turnuvanın Galibini Taçlandırıyor”da ölüm tümüyle tuale egemendir. -
Salome: the Image of a Woman Who Never Was
Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky All rights for this book reserved. No part of this book 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 prior permission of the copyright owner. ISBN (10): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two ............................................................................................. -
PRESS RELEASE Gustave Moreau Museum 14, Rue De La Rochefoucauld 75009 Paris Tel: 01 48 74 38 50 Facebook
PRESS RELEASE Street Art at the Gustave Moreau Museum: Codex invites himself into Gustave’s home. Hybrid bestiaries The Street Artist, Codex Urbanus, will take up residence in the Gustave Moreau Museum for the Long Night of Museums. From 18 to 30 May 2016, his own bestiary-themed works will meet those of Gustave Moreau. From 7pm to 11pm on Saturday 21 May the artist will also present a live performance. Codex Urbanus, Lernean Hydra © N.Adet Guest artist: Codex Urbanus Codex Urbanus was originally the title of a Street Art project, over a series of nights an outlaw bestiary was painted on the walls of Paris’ 18th arrondissement. This urban manuscript – or Codex Urbanus in Latin – presented a host of strange chimera and fantastical animals and brought the artist to the attention of the general public. Consequently he adopted the title as his artist’s name. Codex Urbanus shares Gustave Moreau’s taste for dreams, imagination and Symbolism. He is part of a community of incorrigible dreamers who exist on the margins of the contemporary art scene, portraying timeless legends and imagined creatures in their own tattoo art, cartoon strips and, of course, urban art. This movement is filled with a heartfelt desire to return to the Gustave Moreau Museum media of drawing and painting. Its graffiti and street artists 14, rue de la Rochefoucauld provide us with uninhibited views of monsters, imagined 75009 Paris cities and heroic characters displayed across the Tel: 01 48 74 38 50 wastelands and unused lots of the world’s urban centres. www.musee-moreau.fr It is a kind of Street Symbolism which follows naturally in Facebook: Musée Gustave the vein of Moreau’s work, reuniting artists with their Moreau imagination through the use of new media: in the streets, Twitter: @MuseeMoreau spray can and marker pen have now replaced oil paint and artist’s palette. -
Modernism and Fascism in Norway by Dean N. Krouk A
Catastrophes of Redemption: Modernism and Fascism in Norway By Dean N. Krouk A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Scandinavian in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Sandberg, Chair Professor Linda Rugg Professor Karin Sanders Professor Dorothy Hale Spring 2011 Abstract Catastrophes of Redemption: Modernism and Fascism in Norway by Dean N. Krouk Doctor of Philosophy in Scandinavian University of California, Berkeley Professor Mark Sandberg, Chair This study examines selections from the work of three modernist writers who also supported Norwegian fascism and the Nazi occupation of Norway: Knut Hamsun (1859- 1952), winner of the 1920 Nobel Prize; Rolf Jacobsen (1907-1994), Norway’s major modernist poet; and Åsmund Sveen (1910-1963), a fascinating but forgotten expressionist figure. In literary studies, the connection between fascism and modernism is often associated with writers such as Ezra Pound or Filippo Marinetti. I look to a new national context and some less familiar figures to think through this international issue. Employing critical models from both literary and historical scholarship in modernist and fascist studies, I examine the unique and troubling intersection of aesthetics and politics presented by each figure. After establishing a conceptual framework in the first chapter, “Unsettling Modernity,” I devote a separate chapter to each author. Analyzing both literary publications and lesser-known documents, I describe how Hamsun’s early modernist fiction carnivalizes literary realism and bourgeois liberalism; how Sveen’s mystical and queer erotic vitalism overlapped with aspects of fascist discourse; and how Jacobsen imagined fascism as way to overcome modernity’s culture of nihilism. -
Reading the Emotions of Salome: Sympathy for the Devil Or Fear and Loathing Diane Hoeveler Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2001 Reading the Emotions of Salome: Sympathy for the Devil or Fear and Loathing Diane Hoeveler Marquette University, [email protected] Published Version. Prism(s): Essays in Romanticism, Vol. 9 (2001): 87-108. © 2001 International Conference on Romanticism. Used With Permission. A Reading of the Emotions of Salome: Sympathy for the Devil, or Fear and Loathing Diane Long Hoeveler n October 1876 Gustave Flaubert was engaged in writing what I would become perhaps his most well-known and successful piece of short fiction, "A Simple Heart." This narrative dissects the life of an innocent servant woman, ironically named Felicity, who rransfers her love and spiritual devotion from object to object until she finally settles, afrer life's many disappointments, on a stuffed and tattered parrot as the incarnation of her god of love. The horror of Flaubert's story can be located in his dark and cynical portrayal of love and spiritual devotion as a form of fetishism, a mad scramble for apparently random substitute objects to compensate for the original wound in the psyche, the primor dial fall we all supposedly make from a sense of original wholeness and self-sufficiency within the individual ego into psychic fragmentation. Felicity's pathetic stuffed parrot functions as a fetish, while fetishism-or the displacement of the sexual object by a metonymic substitute-stands in Flaubert as the originating source of both love and religious worship. 1 88 Diane Long Hoeveh Although often considered the exact opposite of a "romantic" work, Flaubert's tale is important as an example of what I would call the "post romantic residue," the reaction against romanticism that lingered in nineteenth-century literary culture, on the continent as well as in Britain. -
Antinomian Remedies: Rehabilitative Futurism, Towards a Better Life , and Kenneth Burke's Modernist Equipment for Living
Antinomian Remedies: Rehabilitative Futurism, Towards a Better Life , and Kenneth Burke's Modernist Equipment for Living Jesse Miller MFS Modern Fiction Studies, Volume 65, Number 1, Spring 2019, pp. 35-59 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mfs.2019.0002 For additional information about this article https://muse.jhu.edu/article/720553 Access provided at 1 Apr 2019 18:04 GMT from University at Buffalo Libraries Jesse Miller 35 Antinomian Remedies: Rehabilitative Futurism, f Towards a Better Life, and Kenneth Burke’s Modernist Equipment for Living Jesse Miller In her essay “Is Sex Disability? Queer Theory and the Disability Drive,” Anna Mollow discusses the modern cultural fantasy of a hygienic future in which all illness and disability have been eradi- cated. “Futurity,” she points out, “is habitually imagined in terms that fantasize the eradication of disability, a recovery of a crippled (or hobbled) economy, a cure for society’s ills, an end to suffering and disease” (288). She calls this fantasy—which is shaped by ide- ologies of health, ability, optimization, and fitness—“rehabilitative futurism.” Within the paradigm of rehabilitative futurism, the healthy subject is defined as an autonomous, productive, and rational deci- sion maker. By contrast, physical, mental, emotional, and behavioral disability figures as what troubles the domain of healthy citizenship, including dependency, unproductivity, and irrationality. Rehabilita- tive futurism thus ascribes a fundamental negativity to the disabled MFS Modern Fiction Studies, Volume 65, number 1, Spring 2019. Copyright © 2019 for the Purdue Research Foundation by Johns Hopkins University Press. All rights to reproduction in any form reserved. -
Questioning German Expressionism: Nazi Reception and Contradiction in the Art of Käthe Kollwitz
Questioning German Expressionism: Nazi Reception and Contradiction in the Art of Käthe Kollwitz Madeline Ullrich Dr. Juliet Bellow Department of Art History General University Honors Spring 2014 My research is a study of Käthe Kollwitz's reception by the Nazi regime from 1933-1945 rather than one that focuses on her artistic production. Despite remaining a practicing artist up to her death in 1945, few art historians correlate her career with significant political events of the 1930s and 40s, such as the rise of the Third Reich. Relegated a “degenerate” artist by Hitler, Kollwitz’s art was initially included Degenerate Exhibition of 1937; however, her work was quickly removed from this derogatory spectacle. In fact, the Nazis even appropriated her work for their own propaganda. Hence, my project is defined by a single term: contradictions. The inconsistent treatment of “degenerate” artists reflects contradictions in a variety of realms: Nazi ideology, the artistic movement of German Expressionism as a whole, and gender. Exploring these contradictions not only reveals more about Kollwitz at the end of her career, but also speaks to her position as a German artist in contemporary art historical discourse. Ullrich 1 Berlin, 1941. Picture a small, poorly lit apartment, cluttered with items one would see in the studio of an artist: clay, drop cloths, modeling blocks, and the like. This is the home of the renowned German artist Käthe Kollwitz, which also became her studio in 1940. When Otto Nagel, a close friend and fellow artist of Kollwitz, came to visit her in this modest apartment the following year, he found the usually calm and reserved Kollwitz beside herself with rage. -
A New Country Cut-Outs
6. A ROOM OF ONE’S OWN. VENCE, represented for Matisse the ‘summation of a CATALOGUE whole life’s work’. He designed the entire decor TEAM THE LAST INTERIORS of the chapel, using his process of gouache CENTRE POMPIDOU HENRI MATISSE. A new country cut-outs. With the reflection of the brightly- Edited by Aurélie Verdier coloured stained glass on the black and white CURATOR Co-published by Centre Pompidou and the Public designs of the wall tiles, at the end of his life Aurélie Verdier, Curator of Modern Collections, Agency for the Management of the Casa Natal of Pablo Ruiz Picasso and Other Museum and HENRI MATISSE Matisse found a final balance between drawing Mnam-Cci Cultural Facilities, Málaga City Council and colour. ASSISTANT CURATOR 80 p., 66 ill. Anna Hiddleston Design : Xavi Rubiras for La Nevera Comunicación A NEW COUNTRY COLLECTION MANAGER Aurélie Sahuqué 6 MARCH – 9 JUNE 2019 ‘The importance of an artist is to be INFORMATION REGISTRARS measured by the quantity of new Marion Julien OPENING HOURS signs which he has introduced to the Mélissa Etave In the course of over sixty years, Henri This exhibition showcases the experimental 9.30 a.m. to 8.00 p.m., every day language of art.’ ART RESTAURATION Ticket offices close at 7:30 p.m. Matisse (1869-1954) produced a body of side of his work and retraces the path, The museum is closed on Tuesdays (except work that was to have a profound impact on through six chronological sequences, of this Henri Matisse, 1942 Sophie Spalek holidays and days before holidays), 1 January and the modern perspective and would establish key artist of modernity. -
The Importance of Salomé: Approaches to a Fin De Siècle Theme
THE IMPORTANCE OF SALOMÉ: APPROACHES TO A FIN DE SIÈCLE THEME Anthony Pym Published in French Forum 14/3 (1989): 311-322. Salomé: Topic and Theme Salomé dances; John the Baptist is beheaded; and that, so it would seem, is enough to define one of the most extensive themes of high Modernism. But although Salomé has been well studied and documented as a textual corpus1, no researcher has yet seriously posed the problem of how such a theme should be approached, nor why this particular corpus should be of any particular importance to literary history. This is moreover a problem of thematics as a whole, which has long tended to be overwhelmed by its material and not sufficiently endowed with serious thought about why and how such investigations should be undertaken. In this sense, careful treatment of Salomé may to some extent exemplify a more general methodological strategy, and should hopefully lead thematics to cut short some of its more useless endeavors and say something of or about historical importance. An essentially pragmatic Stoffgeschichte would accept as Salomé virtually any woman going by that name. But should one also accept every woman named Herodias or Hérodiade, the mother occasionally confused with her generally dancing daughter? Should acceptance similarly be extended to a Salomé who speaks instead of dancing (Laforgue), who becomes a devout Christian (Heywood), or who lives in New York (Yezierska)? And what might then be done with a narrative that makes structural reference to Salomé but insists on calling her “La Fanfarlo” and replaces the beheading with the far more modern catastrophe of bourgeois marriage and the birth of twins? This kind of questioning quickly reveals the fragility of most attempts of distinguish any one theme from another.