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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. -
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. -
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. -
Federica Marsico a Queer Approach to the Classical Myth of Phaedra in Music
Federica Marsico A Queer Approach to the Classical Myth of Phaedra in Music Kwartalnik Młodych Muzykologów UJ nr 34 (3), 7-28 2017 Federica Marsico UNIVERSITY OF PAVIA A Queer Approach to the Classical Myth of Phaedra in Music The Topic In the second half of the 20th century, the myth of Phaedra, according to which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, was set to music by three homosexual compos- ers in the following works: the dramatic cantata Phaedra for mezzo- soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931) after a libretto drafted by the Italian composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act con- cert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.1 1 In the second half of the century, other musical adaptations of the myth were also composed, namely the one-act opera Phèdre by Marcel Mihalovici (1898–1986) after a text by Yvan Goll and consisting in a prologue and five scenes (1951), the chamber opera Syllabaire pour Phèdre by Maurice Ohana (1913–1992) after a text by Raphaël Cluzel (1968), and the monodrama Phaedra for mezzo-soprano and orchestra by George Rochberg (1918–2005) after a text by Gene Rosenfeld (1976). 7 Kwartalnik Młodych Muzykologów UJ, nr 34 (3/2017) This paper summarizes the results of a three-year research project (2013–2015)2 that has proved that the three above-mentioned homo- sexual composers wilfully chose a myth consistent with an incestu- ous—and thus censored—form of love in order to portray homoerotic desire, which the coeval heteronormative society of course labelled as deviant and hence condemned. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
Baby Girl Names Registered in 2013
Page 1 of 48 Baby Girl Names Registered in 2013 # Baby Girl Names # Baby Girl Names # Baby Girl Names 1 Aadhya 1 Abbigayl 1 Acrom 1 Aadvika 1 Abbrianna 18 Ada 1 Aadya 17 Abby 1 Adabell 1 Aaesha 3 Abbygail 1 Adahlia 1 Aafarida 2 Abbygale 1 Adair 2 Aahana 1 Abeeha 1 Adalaya 1 Aahna 1 Abeera 1 Adalayne 1 Aaiana 2 Abegail 2 Adalee 2 Aaira 1 Abelia 1 Adaleyah 1 Aaisha 1 Abemael 1 Adali 1 Aalaiyah 1 Aberdeen 4 Adalia 1 Aaleen 1 Abha 1 Adalina 2 Aaleyah 1 Abhitha 1 Adaline 5 Aaliya 2 Abi 17 Adalyn 42 Aaliyah 1 Abiah 19 Adalynn 1 Aaliyah-Faye 3 Abigael 4 Adalynne 1 Aamina 164 Abigail 2 Adama 3 Aaminah 1 Abigail-Crystal 1 Adamay 2 Aamna 2 Abigale 1 Adan 9 Aanya 1 Abigayl 3 Adanna 1 Aara 4 Abigayle 3 Adara 3 Aaradhya 1 Abigia 1 Adarah 1 Aaralee 1 Abiha 1 Adasyn 1 Aaralynn 1 Abira 1 Adaya 1 Aaria 1 Abisatou 2 Addalyn 1 Aarieanna 1 Abisha 1 Addalynn 1 Aarika 3 Abrianna 1 Addasyn 4 Aarna 1 Abrie 1 Addelinn 1 Aarohi 1 Abriela 1 Addelyn 1 Aarushi 2 Abriella 3 Addie 5 Aarya 7 Abrielle 1 AddieMae 1 Aaseas 1 Abril 1 Addilia 1 Aashna 1 Abryanna 1 Addiline 1 Aasia 1 Abul 2 Addilyn 1 Aasiya 1 Aby 1 Addin 1 Aavry 1 Abyelle 1 Addington 1 Aayah 2 Abygail 1 Addisen 1 Aayat 1 Abygeil 74 Addison 1 Aayla 3 Acacia 7 Addisyn 1 Aazeen 3 Acadia 3 Addley 1 Abagael 1 Acelin 11 Addyson 2 Abagail 1 Acelynn 1 Adeeb 1 Abaigeal 1 Achad 3 Adeena 4 Abbey 1 Achan 1 Adeife 1 Abbi 1 Achette 2 Adela 3 Abbie 1 Achiraya 1 Adelaida 1 Abbiegale 1 Achoi 13 Adelaide 7 Abbigail 1 Achok 8 Adele 1 Abbigaile 1 Achols 1 Adelène 1 Abbigale 1 Acil 1 Adelie Page 2 of 48 Baby Girl Names Registered -
Magis Rythmus Quam Metron: the Structure of Seneca's Anapaests
Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry Lieven Danckaert To cite this version: Lieven Danckaert. Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry. Symbolae Osloenses, Taylor & Francis (Routledge): SSH Titles, 2013, 87 (1), pp.148-217. 10.1080/00397679.2013.842310. halshs-01527668 HAL Id: halshs-01527668 https://halshs.archives-ouvertes.fr/halshs-01527668 Submitted on 24 May 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Magis rythmus quam metron : the structure of Seneca's anapaests, and the oral/aural nature of Latin poetry 1 Lieven Danckaert, Ghent University Abstract The aim of this contribution is twofold. The empirical focus is the metrical structure of Seneca's anapaestic odes. On the basis of a detailed formal analysis, in which special attention is paid to the delimitation and internal structure of metrical periods, I argue against the dimeter colometry traditionally assumed. This conclusion in turn is based on a second, more methodological claim, namely that in establishing the colometry of an ancient piece of poetry, the modern metrician is only allowed to set apart a given string of metrical elements as a separate metron, colon or period, if this postulated metrical entity could 'aurally' be distinguished as such by the hearer. -
Latin 019 Roman Imperial Literature: Death in Seneca Prof
Latin 019 Roman Imperial Literature: Death in Seneca Prof. Jeremy B. Lefkowitz Spring 2011 [email protected] MWF 10:30 ‐ 11:20 Trotter 111, x7894 Trotter 115 Office Hours: Wednesday 1:00 – 4:00 & by appointment Course Description This course examines Seneca's views on life and death as expressed in his philosophical essays, letters to his friends and family, and tragic plays. The emphasis will be on close readings of Seneca's prose and poetry in Latin, with careful attention to the distinguishing features of Seneca’s rhetorical style, his famous brevitas and theatricality, and the place of Senecan thought in its literary, philosophical, and historical contexts. Evaluation Participation and preparation for class (including presentations): 15% Regular (unannounced) quizzes on vocabulary and morphology: 20% Term Paper (first draft due Friday, April 14; final draft due Friday, April 29): 15% Midterm Exam (Wednesday, February 23): 25% Final Exam (date tba): 25% Guidelines and Expectations Preparing for Class: It is essential that you come to every class meeting well prepared. What does it mean to be "well prepared" for this class? It means reading every line of assigned Latin closely and carefully. Here is a checklist to help you do this: * Have you read through everything out loud, slowly, with attention to pronunciation and accentuation? * Have you worked through the texts, sentence by sentence, doing your best to understand what you are reading? * Have you looked up any unfamiliar words in the dictionary, making a list (or an index card) of every word you look up? * Have you checked all forms and rules of syntax about which you are unsure in your Latin grammar? * Have you read through the texts again, one last time, to make sure you are confident in your understanding of all the Latin expressions? Of course, there will be times when you cannot fully understand the meaning of a sentence or phrase on your own, in which case you should come to class with questions. -
EVIL GODDESSES, FLAWED HEROES. Divine Wrath and Human Error in Seneca’S Hercules Furens and Phaedra
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXIII/1 • 2013 pp. 91–101. ISBN 978-83-7654-209-6. ISSN 0302-7384 Joanna Pypłacz Biblioteka Jagiellońska (Oddział Starych druków) Al. Mickiewicza 22, 30-059 Kraków Polska – Poland EVIL GODDESSES, FLAWEd HEROES. Divine Wrath and Human Error in Seneca’S Hercules FUreNs and PhaeDra abstraCt. Pypłacz Joanna, Evil Goddesses, Flawed Heroes. divine Wrath and Human Error in Seneca’s Hercules furens and phaedra. The present article discusses the relationship between deities and human beings in Seneca’s tragedies. Only in two of them – Hercules furens and phaedra – do gods significantly influence the plot. Holding personal grudges against the main characters of these plays, the goddesses Juno and Venus set out to destroy Hercules and Hippolytus respectively by exploiting significant flaws in their characters. Keywords: Seneca, tragedy, goddesses, revenge, Venus, Juno, Hercules, Phaedra, Hippolytus, destruction. The role of the supernatural world in Seneca’s tragedies is quite conside- rable. Its several components – ghosts, magic and dreams – were widely di- scussed by Charles Whitmore1 and subsequently neatly classified and further analysed by Mary Braginton,2 whose study clearly shows that it is the ghosts who constitute the most numerous and powerful group of supernatural entities in these plays.3 The gods themselves are rare guests in Seneca’s tragedies, which differ from the tragedies of the Greeks in this respect. Their role is similar to that of magic or divination. In fact only two goddesses are present in these plays: Juno in Her- cules furens and Venus in phaedra4 – and of these only Juno appears on stage. -
Seneca and Psychoanalysis1 Mairéad Mcauley University College, London and University of Johannesburg
Breaking Apart Like the World: Seneca and Psychoanalysis1 Mairéad McAuley University College, London and University of Johannesburg I am breaking apart like the world. 71 -Sylvia Plath, Three Women In a famous section of The Interpretation of Dreams, Freud outlines his theories of the Oedipus complex and the unconscious through a reading of Sophocles’ tragedy, followed by a lengthy footnote on the same motifs-repressed-in Shakespeare: Another of the great creations of tragic poetry, Shakespeare’s Hamlet has its roots in the same soil as Oedipus Rex. But the changed treatment of the same material reveals the whole difference in the mental life of these two widely separated epochs of civilization. In the Oedipus the child’s wishful phantasy that underlies it is brought into the open and realized as it would be in a dream. In Hamlet it remains repressed; and-just as in the case of neurosis-we only learn of its existence from its inhibiting consequences.... Hamlet is able to do anything-except take vengeance on the man who did away with his father and took that father’s place with his mother, the man who shows him the repressed wishes of his own childhood realized. (SE 4:264-5) If Freud presents Sophocles as a proto-Freudian, Seneca’s Oedipus, at the begin- ning of his play already beleaguered by proleptic guilt for the plague infecting the city, seems almost to have read not just Sophocles’ play but also Freud’s reading of Sophocles (and Shakespeare): I am ashamed to utter my fate. Phoebus threatens the son with his parent’s bed.…When you dread some great evil, you must fear even what you think impossible. -
Medea & Phaedra
Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge Theater of War creator Bryan Doerries returns to BAM to lead discussion surrounding mental health through readings from Euripides’ Medea and Seneca’s Phaedra Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge Led by Bryan Doerries With Elizabeth Marvel, Amy Ryan, Donnetta Lavinia Grays, and Bill Camp Mon, Jun 20 at 7pm BAM Fisher (Fishman Space), 321 Ashland Pl Free with RSVP Brooklyn, NY/May 19, 2016—BAM Humanities presents Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge—an evening of performance and dialogue featuring dramatic readings of scenes from Euripides’ Medea and Seneca’s Phaedra, followed by discussion about the relevance of these myths to contemporary society. The evening will be led by Theater of War founder Bryan Doerries, using his translation of Medea and a translation of Phaedra by Laura Weber, with performances by Elizabeth Marvel, Amy Ryan, Donnetta Lavinia Grays, and Bill Camp. Medea and Phaedra—both of which timelessly explore how scorned passion can lead to revenge and unthinkable violence—will serve as the gateway to a discussion surrounding mental illness. These plays pose the question as to whether the irreversible actions of the titular characters are driven by mental illness. From there, Doerries will facilitate a conversation that will address under-discussed mental health issues—such as post-partum depression and psychosis—and will extend to recent incidents that seem uncannily similar to the plots of these ancient plays. For press information contact Christina Norris at [email protected] or 718.636.4129 x8. About the artists Writer, director, and translator Bryan Doerries is the founder of Theater of War, a project that presents readings of ancient Greek plays to military and civilian communities to initiate conversations about the wounds of war. -
160 161 Hans Werner Henze: Distantes Ideales De Belleza
www.elboomeran.com Revista Claves de Razón Práctica nº247 SEMBLANZAS al terreno sinfónico –diez sinfonías cuya escritura se extiende des- de 1946 a 2000– o al mundo del ballet. Hans Werner Henze fue el único compositor que, en un momento en el que la vanguardia oficial de posguerra dictaminaba desde los cursos de Henze: distantes Darmstadt una absoluta ruptura con el pasado, en una suerte de tabula rasa, para imponer un paradigma musical fundado sobre un excluyente rigor constructivo, mantuvo un fértil diálogo con la tra- ideales de belleza dición. Diálogo siempre impelido por la necesidad expresiva que domina toda su producción y que, en ese sentido, tampoco podía, ni quería, renunciar a las nuevas conquistas sonoras surgidas a lo largo del siglo XX y que él mismo exploró desde primera hora. Su La música del compositor se asienta actitud, sin embargo, no tenía nada de autocomplaciente. Podría en un diálogo, tan fértil como polémico, decirse incluso que la figura de Henze resultó, en su recepción entre los lenguajes del siglo XX pública, víctima de perpetuos malentendidos, a pesar de que si- multáneamente fuera uno de los compositores más presentes en y las formas heredadas de la tradición. los principales escenarios del mundo. En las crónicas publicadas a raíz de su fallecimiento era perceptible tal situación. Tachado de DAVID CORTÉS SANTAMARTA retrógrado por los adalides de la vanguardia y de demasiado radi- cal –tanto en términos estéticos como, sobre todo, políticos– entre los conservadores. Para los primeros Henze fue alguien que trai- Asumir la mirada retrospectiva a la que obliga, necesariamente, cionó la causa vanguardista, siendo esto todavía más grave dado la muerte de un creador, resulta en el caso del compositor alemán que había demostrado su completo dominio de las nuevas técnicas: Hans Werner Henze –fallecido en 2012 a los 86 años de edad- ahí está Antifone o, gesto hiriente, la impecable y estricta organiza- una labor abrumadora.