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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Documents acquired by ERIC include many informal unpublished * materials not available from other sources.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 -
Powerpoint Guidance
A Londoner Joseph Mallord William Turner was born in April 1775 in Covent Garden, London. His father, William, was a barber and wigmaker and his mother was called Mary. Joseph’s father was supportive of his artistic talent and would display his son’s early drawings in his shop. Joseph Turner kept his Cockney accent all his life. Did You Know? The Royal Academy of Arts Joseph attended the Royal Academy of Arts school in 1789 and was accepted into the academy the following year. Although Joseph was interested in architecture, he was advised to carry on painting watercolour pictures. He sold some of his watercolour paintings to help pay for his fees at the Academy. Joseph Turner was only fourteen years old when he started studying at Did You Know? the Academy. Capturing the Light Joseph Turner began sketching outside, using these as a basis for his paintings, indoors. This led to him touring the country during the summer and working in the studio in the winter. He became known as “The Painter of Light”. In 1796, he exhibited his first painting in oils: ‘Fishermen at Sea’. As you look at the following paintings, think about why Turner was known as Did You Know? “The Painter of Light”. Fishermen at Sea What are your thoughts about this painting? Painter of Light One of Joseph Turner’s most famous paintings is called ‘The Fighting Temeraire Tugged to Her Last Berth to Be Broken Up’ and is on display at the National Gallery in London. How would you describe Turner’s painting technique? JMW TURNER (1775-1851) GREAT YARMOUTH HARBOUR, NORFOLK 1840 Travel Turner began to travel around Europe, becoming known as one of the greatest masters of watercolour landscapes. -
Bibliographie Zum Nachleben Des Antiken Mythos
Bibliographie zum Nachleben des antiken Mythos von Bernhard Kreuz, Petra Aigner & Christine Harrauer (Tschechische Literatur: Petr Kindlmann) Version vom 23.09.2013 Wien, 2013 Inhaltsverzeichnis I. Allgemeine Hilfsmittel .............................................................................................................. 3 I.1. Hilfsmittel zum 16.–18. Jhd. .............................................................................................. 3 I.1.1. Lexika zur Rennaissance .............................................................................................. 3 I.1.2. Biographische Lexika ................................................................................................... 3 I.1.3. Bibliographische Hilfsmittel ........................................................................................ 4 I.1.4. Neulateinische Literatur im Internet ............................................................................ 4 I.2. Moderne Lexika zur Mythologie (in Auswahl) ................................................................. 4 I.2.1. Grundlegende Lexika zur antiken Mythologie und Bildersprache .............................. 4 I.2.2. Lexika zur antiken Mythologie und ihrem Nachleben ................................................. 5 Spezialwerke zur bildenden Kunst ......................................................................................... 5 Spezialwerke zur Musik ......................................................................................................... 6 I.2.3. -
Art Basel 11 Min
FILM & MUSIC FESTIVALS • CIRCUS KNIE • EXERCISE IN PARKS • ENGLISH THEATER Volume 7 Issue 9 CHF 6 6 A Monthly Guide to Living in Basel June 2019 50 Years of Appreciating Art Basel 11 min. from Basel SBB Saturdays & Evenings Prevention Dental Hygiene Dentures & Implants Dental Restorations Smile Makeovers Urgent Appointments +49 7623 469 240 Hebelstraße 19a, 79618 Rheinfelden, Germany cliniusdentalcare.com 2 Basel Life Magazine / www.basellife.com LETTER FROM THE EDITOR Dear Readers, Summer is right around the corner, and this can only mean one thing in Basel—time to embrace the arts! Both local art lovers and the inter- June 2019 Volume 7 Issue 9 national art world—including many celebrities—focus their attention on the prestigious Art Basel show in the middle of the month, which is TABLE OF CONTENTS accompanied by a host of exhibitions, indoor and outdoor art events, as well as a multitude of related art fairs. For roughly a week, the city will Feature Event: Art Basel 4–7 be transformed into one huge art gallery where you can expect the unex- pected, and unusual expressions of art abound throughout the squares and streets. Be sure to take a stroll through Art Basel Parcours in the city Events in Basel: June 2019 8–13 center and to check out the video art presented by Videocity.bs in several public spaces throughout the city. Art Basel is a great way to get an in- sight into today’s art scene! Fun Outings: Beyond Basel 14–15 The month of June also brings with it a great number of festivals that celebrate art and culture in a variety of ways, including the Bildrausch Markets and Fairs 16–17 Filmfest, which emphasizes films as an art form; the Imagine festival where youths are invited to take a stand against racism; an oldtimer car festival across the French border; as well as several open-air music fes- Calendar: June 2019 18–19 tivals in and beyond Basel. -
{PDF EPUB} Dido Doomed Queen of Carthage by Ingrid De Haas the Story of Dido, Queen of Ancient Carthage
Read Ebook {PDF EPUB} Dido Doomed Queen of Carthage by Ingrid de Haas The Story of Dido, Queen of Ancient Carthage. Dido (pronounced Die-doh) is known best as the mythical queen of Carthage who died for love of Aeneas, according to "The Aeneid" of the Roman poet Vergil (Virgil). Dido was the daughter of the king of the Phoenician city-state of Tyre, and her Phoenician name was Elissa, but she was later given the name Dido, meaning "wanderer." Dido was also the name of a Phoenician deity named Astarte. Who Wrote About Dido? The earliest known person to have written about Dido was the Greek historian Timaeus of Taormina (c. 350–260 BCE). While Timaeus's writing did not survive, he is referenced by later writers. According to Timaeus, Dido founded Carthage in either 814 or 813 BCE. A later source is the first-century historian Josephus whose writings mention an Elissa who founded Carthage during the rule of Menandros of Ephesus. Most people, however, know about the story of Dido from its telling in Viergil’s Aeneid . The Legend. Dido was the daughter of the Tyrian king Mutto (also known as Belus or Agenor), and she was the sister of Pygmalion, who succeeded to the throne of Tyre when his father died. Dido married Acerbas (or Sychaeus), who was a priest of Hercules and a man of immense wealth; Pygmalion, jealous of his treasures, murdered him. The ghost of Sychaeus revealed to Dido what had happened to him and told her where he had hidden his treasure. -
Tate Britain
Tate Britain The Paintings of J.M.W. Turner 15:00-15:45 Laurence Shafe 1 The Paintings of J.M.W. Turner The Paintings of J.M.W. Turner.......................................................................................................................... 2 Joseph Mallord William Turner (1775-1851) in the Clore Gallery ..................................................................... 5 ‘Self-Portrait’, c. 1799 ........................................................................................................................................ 6 ‘England: Richmond Hill, on the Prince Regent’s Birthday’, exhibited 1819 ..................................................... 9 ‘Snow Storm: Hannibal and his Men crossing the Alps’, exhibited 1812 ........................................................ 12 ‘The Decline of the Carthaginian Empire’, exhibited 1817 .............................................................................. 15 ‘The Angel Standing in the Sun’, exhibited 1846 ............................................................................................. 18 ‘Crossing the Brook’, exhibited 1815 ............................................................................................................... 21 ‘Ploughing up Turnips near Slough’, exhibited 1809 ....................................................................................... 24 ‘The Sun of Venice Going to Sea’, exhibited 1843 ........................................................................................... 29 ‘Norham Castle, Sunrise’, -
L'auteur Dramatique Et La Conscience Professionnelle (1610-1640)
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-9-2018 3:00 PM L'auteur dramatique et la conscience professionnelle (1610-1640) Heather N. Kirk The University of Western Ontario Supervisor Leclerc, Jean The University of Western Ontario Graduate Program in French A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Heather N. Kirk 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the French and Francophone Literature Commons Recommended Citation Kirk, Heather N., "L'auteur dramatique et la conscience professionnelle (1610-1640)" (2018). Electronic Thesis and Dissertation Repository. 5950. https://ir.lib.uwo.ca/etd/5950 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Résumé Ce travail s’inscrit dans un prolongement des ouvrages socio-littéraires publiés depuis La Naissance de l’écrivain d’Alain Viala en 1985. L’« écrivain » est l’incarnation professionnelle de l’auteur et se distingue de celui-ci par son inscription au sein de la République des Lettres, un espace défini par les mécanismes socio-politiques de son époque (académies, salons, public payant, doctes, libraires). L’écrivain – l’homme de lettres professionnel – s’émancipe du milieu purement intellectuel et se construit un réseau de circulation qui permet les concurrences. Nous proposons que les auteurs dramatiques de l’époque pré-académique (vers 1610-1640) étaient déjà conscients d’une hiérarchie, de l’utilité sociale et de la qualité esthétique de leurs œuvres, les critères que Viala attribue au littérateur professionnel seulement à partir de l’âge classique. -
Copyrighted Material
Index Note: page numbers in italics denote illustrations Acestes, King 44 and Ascanius-Iulus 48–9, 242, 465 Achaemenides 13, 50, 466 and Augustus 54, 88, 90, 235 Achates 166–7, 410–11 character 137, 442–3 Achilles and Creusa 48, 84, 90, 100, 414, Aeneas as 40–1, 54 465, 472 Buchan on 416 death, desire for 410–11 death of 103 and Dido 51, 125–6, 169, 176, 178, and Hector 33, 89, 103, 273 442 as hero 410, 480 and Evander 37–40, 50, 60 and Patroclus 62, 477 flight from Troy 41–2, 51, 327–8 Pyrochles as 182 genealogy of 49 shield of 19, 31 as gigantic monster 102 wrath 33 Greek historians 47 Achilles, as first name 376–7 invisibility 43 acrostics 22 and Juno 237, 406–7, 409–10, 415–17 Actium, Battle of 68, 160, 188, 394, 402 and Lavinia 48, 72–3, 162, 218 Adam and Eve 199–201 and Paris 43, 137–8 Adams, A. 368 pietas 42, 63–5, 72, 137, 257, 395–6 Adams, C.F. 360, 368 and Priam 137 Adams, J. 356, 358–9,COPYRIGHTED 367–8 prodigies MATERIAL 58–9 Adams, J.Q. 359–60, 364–5, 368, 382 religious authority/leadership 54–7, Adcock, F. 467 59–61, 65 Addams, C. 339, 340 as Satan 143 Adolph, J.B. 207 shield of 40, 60, 66–7, 69, 86, 160, 225, Aelian 42 394, 405 Aeneas tears 147–8, 237, 410–11 as Achilles 40–1, 54 underworld 189–90, 240 American reception 378 and Venus 69, 167, 178, 221, 414 and Antenor 138, 144 as wolf 94n17 aphasia 412–14 see also Anchises; Turnus, killing of bbindex.inddindex.indd 553131 99/12/2013/12/2013 66:22:49:22:49 AAMM 532 Index Aeneas Indiges cult 46–8 African Americans Aeneas legend 3, 13–14, 18, 37 Aeneid and 378, 390 developing 44–6, 51 civic life 374 historiography 46 culture 7–8; aural 377; sports 376–7 synthesis of 49 education: classical 7–8, 380–6; Aeneid 1–3 Hampton-Tuskegee model 380–1 J.Q. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] Notes on History and Theory of Opera (Dramatic Art Music) I. Introduction: Opera is drama that combines soliloquy, dialogue, scenery, action and continuous music; the whole greater than the sum of the artistic parts. Opera started in Italy which continued to dominate its development for its 400+ year history. Italian style opera became popular throughout Europe. Only after Italian style opera gained a foot-hold in other European countries did the others begin to develop their own style, suited to the local language and culture. In most cases, local styles became popular at the same time that Italian style opera retained its popularity. In the 16th century polyphony of sacred masses and motets of the Medieval Church spilled into the secular field to produce the madrigal. At the same time, intermedi (brief entertainments separating act of pastorals and classic plays of Renaissance Theater) developed into an entertainment of its own and merged with madrigals. Music evolved to be a continuous part of the intermedi and became a means of expressing the drama itself, in musical terms. This alone made the idea of opera possible. Opera started in 1597, during the late Renaissance. “Renaissance” literally means “rebirth” (in French); when applied to Western cultural development, it means “rebirth of Greek culture.” In the late 1500’s, a group of scholars, philosophers, and amateur musicians formed a camerata (society) dedicated to discussion and reform of drama to a form similar to that of the Ancient Greeks. -
Trojans in Transition in the Aeneid Dr Emily Pillinger, King’S College London Email: [email protected] Livy (59BCE-17CE), History of Rome
‘Dido building Carthage’ J. M. W. Turner, 1815 Trojans in Transition in the Aeneid Dr Emily Pillinger, King’s College London Email: [email protected] Livy (59BCE-17CE), History of Rome My concern is that each reader should note carefully the kind of life and morality, the kind of individuals and qualities which delivered us an empire at home and abroad and then expanded it… Livy 1.9 trans. A. J. Woodman ad illa mihi pro se quisque acriter intendat animum, quae uita, qui mores fuerint, per quos uiros quibusque artibus domi militiaeque et partum et auctum imperium sit… Further exploration: assign the whole of Livy’s preface to his History of Rome. Q: What is the difference between legend and history? Q: What is the point of writing about the past, for Livy? Lecture plan 1. The three cities: Troy, Carthage, Rome 2. Trojan behaviours / stereotypes in relation to these cities 3. Investigating these dynamics in the classroom Ideas for teaching activities are marked in red ‘Ancient’ cities in the Aeneid Once, an old city existed, and Tyrian settlers controlled it: Carthage… Virg. Aen. 1.12-13, trans. Ahl (here and elsewhere) urbs antiqua fuit (Tyrii tenuere coloni) Karthago… Who could translate into words that night’s disaster and killings? Who could shed tears that express those oceans of pain that engulfed us? That day an old city died after so many years of dominion… Virg. Aen. 2.361-3 quis cladem illius noctis, quis funera fando explicet aut possit lacrimis aequare labores? urbs antiqua ruit multos dominata per annos… Euripides’ Trojan Women (415 BCE) Talthybius: .. -
SUMMER LISTING July 2011
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books SUMMER LISTING July 2011 Item 365 [Ref 21250] Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW1 Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. My Heart's in the Highlands. Chasing 4. Le Graveur. 1. No.54. the Wild deer & following the roe, My à Augsbourg chez J.J.Haid et fils. heart's in the highlands wherever I go. Fine mezzotint. Sheet 410 x 305mm. 16¼ x 12". Trimmed to plate, laid on album paper. £450 [Separate poem text:] Illustrated Song.- An engraver at work sitting behind his desk. With his No.3. My heart's in the Highlands, my left hand he holds a knife poised ready to draw onto the heart is not here, My heart's in the plate. On the work table to the left above is a Higlands a chasing the deer...I sigh fot the candleholder throwing light onto the plate. Behind to hour that shall me retrace The path of my the left, there is an engraving depicting a woman with a crucifix. childhood, my own native place. My Johann-Jakob Haid (1704-1767), pupil of Ridinger, heart's, &c. belonged to a famous German family of portraitists and T.C. Wilson. Alfred Carlile, Lithographer, London. engravers based in Augsburg. -
Aeneas Slides As Printable Handouts
22/08/2018 Aeneas carrying Anchises Black Figure Amphora c. 490-480 BC, British Museum Aphrodite and Anchises Bronze Mirror Case c. 350-320 BC, British Museum Anchises and Ascanius escaping from Troy? Red Figure Volute Krater c. 370-350 Flight From Troy BC, British Museum in the Vatican Virgil c. 400 AD Aeneas with Ascanius and Anchises Roman Lamp Aeneas with Ascanius and Anchises Carved Gem 1 22/08/2018 Aeneas with Ascanius and Anchises Roman Coin Antonius Pius Aeneas’s flight from Troy by Barocci Aeneas with Ascanius and Anchises maiolica C16th, Aeneas and Anchises British Museum Maiolica bowl c. 1530 Map Showing Aeneas’s Route 2 22/08/2018 Aeneas Erects a Tomb to his Nurse Caieta and Flees the Country of Circe, Metropolitan Museum Anchises and Ascanius at Delos with King Anius by Claude 1672 Scenes from the Aeneid on Limoges Enamel Plaques by Jean II Penicaud c. 1540-1550 and Dido building Carthage by Turner the engraving by Marcantonio Raimondi on which they are based including a Central Scene based on Raphael Neptune Calming the Winds Aeneas and Achates 3 22/08/2018 Dido building Carthage, or the Rise of the Carthaginian Empire Turner (2) Dido Giving Aeneas a Feast and Cuddling Ascanius Dido Escorting Aeneas Through Carthage Dido and Aeneas Tazza Dido Receiving Aeneas Limoges Enamel Plaque by Pierre Reymond 1540, British Museum Dido Receiving Aeneas and Cupid Disguised as Ascanius by Solimena 1720s, National Gallery The Meeting of Dido and Aenaes by Dance-Holland 4 22/08/2018 Dido and Aeneas Enamel Pendant 1690, British Museum Aeneas Meeting Dido at Carthage by Cézanne 1875 Aeneas Leaving Carthage Enamel Panel c.1530 by Dido Cuddling Ascanius Master of the Aeneid Series, Maiolica Plate c.