Essays and a Translation of Euripides Tragedy Pdf, Epub, Ebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city. -
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Table of Contents
TABLE OF CONTENTS Resumen ........................................................................................................................... 2 1.Introduction: the legacy ................................................................................................. 3 2. The Classical world in English Literature .................................................................... 6 3. Lady Macbeth, the Scottish Medea ............................................................................ 13 4. Pygmalion: Ovid and George Bernard Shaw ............................................................. 21 5. Upgrading mythology: the American graphic novel .................................................. 33 6. Conclusion .................................................................................................................. 37 BIBLIOGRAPHY .......................................................................................................... 39 1 Resumen El propósito de este escrito es presentar el legado de las culturas griega y romana, principalmente sus literaturas, a través de la historia de la literatura. Aunque ambas tradiciones han tenido un enorme impacto en las producciones literarias de de distintos países alrededor del mundo, esta investigación está enfocada solamente a la literatura inglesa. Así pues, el trabajo iniciará hablando de la influencia de Grecia y Roma en el mundo actual para después pasar al área particular de la literatura. También se tratarán tres ejemplos incluyendo el análisis de tres obras -
Volgei Nescia: on the Paradox of Praising Women's Invisibility*
Matthew Roller Volgei nescia: On the Paradox of Praising Women’s Invisibility* A funerary plaque of travertine marble, originally from a tomb on the Via Nomentana outside of Rome and dating to the middle of the first century BCE, commemorates the butcher Lucius Aurelius Hermia, freedman of Lucius, and his wife Aurelia Philematio, likewise a freedman of Lucius. The rectangular plaque is divided into three panels of roughly equal width. The center panel bears a relief sculpture depicting a man and woman who stand and face one another; the woman raises the man’s right hand to her mouth and kisses it. The leftmost panel, adjacent to the male figure, is inscribed with a metrical text of two elegiac couplets. It represents the husband Aurelius’ words about his wife, who has predeceased him and is commemorated here. The rightmost panel, adjacent to the female figure, is likewise inscribed with a metrical text of three and one half elegiac couplets. It represents the wife Aurelia’s words: she speaks of her life and virtues in the past tense, as though from beyond the grave.1 The figures depicted in relief presumably represent the married individuals who are named and speak in the inscribed texts; the woman’s hand-kissing gesture seems to confirm this, as it represents a visual pun on the cognomen Philematio/Philematium, “little kiss.”2 This relief, now in the British Museum, is well known and has received extensive scholarly discussion.3 Here, I wish to focus on a single phrase in the text Aurelia is represented as speaking. -
C:\Users\User\Documents\04 Reimann\00A-Inhalt-Vorwort.Wpd
Vorwort Aribert Reimann ist einer der erfolgreichsten lebenden Komponisten Deutschlands, von Publikum und Kritik gleichermaßen hoch geschätzt. Bis heute, kurz vor seinem achtzigsten Geburtstag, hat er 78 Vokalwerke kom- poniert. Dazu gehören neben drei Chorwerken und zwei Requiems vor allem Lieder mit Klavier, mit Orchester oder in verschiedenen Kammermusik- besetzungen sowie acht Opern, die weltweit aufgeführt werden. Auch den solistischen Stimmen ohne jede Instrumentalbegleitung bietet Reimann höchst anspruchsvolle Kompositionen: Innerhalb dieses noch immer relativ ungewöhnlichen Genres findet sich neben sieben textinterpretierenden Werken eine sechsteilige Reihe von ganz den ‘Farben’ der menschlichen Stimme nachspürenden Vokalisen. Eine weitere Besonderheit stellen seine Kammermusikbearbeitungen romantischer Klavierlieder von Schubert, Mendelssohn-Bartholdy, Schumann, Brahms und Liszt dar. Obwohl auch die Liste von Reimanns Instrumentalwerken umfangreich und vielfältig ist, konzentriert sich diese Studie ausschließlich auf seine Vokalmusik. Hier kann Reimann aufgrund seiner intimen Vertrautheit mit der menschlichen Stimme aus einem einzigartigen Schatz an Einsichten schöpfen. Seine Affinität zum Gesang hat ihre Basis in seiner Kindheit mit einer Gesangspädagogin und einem Chorleiter als Eltern, in seinen frühen Auftritten als solistischer Knabensopran in konzertanten und szenischen Produktionen und in seiner jahrzehntelangen Erfahrung als Klavierpartner großer Sänger. Den kompositorischen Ertrag dieses Erfahrungsreichtums durch detaillierte Strukturanalysen zu erschließen und in ihrer textinterpre- tierenden Dimension zu würdigen kommt einer Autorin, deren besonderes Interesse dem Phänomen “Musik als Sprache” gilt, optimal entgegen. Die vorliegende Studie stellt in den fünf Hauptkapiteln je fünf Werke aus den vier letzten Dekaden des 20. Jahrhunderts und aus der Zeit seit 2000 vor, darunter die Opern Lear (nach Shakespeare), Die Gespenstersonate (nach Strindberg), Bernarda Albas Haus (nach Lorca) und Medea (nach Grillparzer). -
MEDEA in OVID's METAMORPHOSES and the OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N
MEDEA IN OVID'S METAMORPHOSES AND THE OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N. Feimer Ovide Moralist of the early fourteenth century is much more than a translation into Old French of the first-century Latin Metamorphoses of Ovid. It has long been observed that mediaeval translators were not driven by a passion for "accuracy," or torn by a sense of the futility of their task as their modern counterparts have been. As a comparison of the two texts clearly shows, the mediaeval poet augmented Ovid's work where he found it lacking, displaying an encyclopaedic erudition in the process. The author ,1 2 of Ovide Moralise also adapted the pagan content of Ovid's Metamorphoses to convey Christian dogma to his audience. Every narrative element, every character, and every symbol is employed to represent a Christian signifi• cance by means of allegorical exegeses which are as long as or longer than the passages they explicate. An excellent example of the mediaeval poet's use of his translation of Ovid's text to transmit his orthodox mediaeval vision to his audience may be found in his treatment of the story and character of Medea from Book VII of The Metamorphoses. Ovide Moralise contains the most complete portrait of Medea among the mediaeval narrations of her story.3 It traces the tale from Jason's acceptance of the quest to obtain the Golden Fleece to Medea's attempt to poison Theseus and her subsequent escape. To be sure, there are a number of works in both vernacular and Latin to which the title, Ovide Moralise, has been ascribed. -
ON the ORACLE GIVEN to AEGEUS (Eur
ON THE ORACLE GIVEN TO AEGEUS (Eur. Med. 679, 681) Aegeus, according to Euripides the childless king of Athens, consulted the oracle at Delphi on the matter of his childlessness, and was given a puzzling answer. He decided, therefore, to seek an explanation from Pittheus/ king of Troezen, who had the reputation of being a prophetic expert and a wise interpreter. On his way from Delphi to Troezen Aegeus passes through Corinth,1 meets with Medea, and repeats to her the Pythia’s advice: ἀσκοΰ με τὸν προυχοντα μὴ λῦσαι πόδα ... (679) πρὶν ἄν πατρῷαν αΰθις ἐστίαν μόλω. (681) Ί am not to loosen the hanging foot of the wineskin ... until I return again to the hearth of my fathers.’ Medea does not attempt to interpret the oracle, but offers instead to cure Aegeus’ childlessness with drugs when she arrives at his court, and the Athenian king having promised to grant her asylum proceeds to Troezen and to the begetting of Theseus. Ἀ hexametric version of the oracle, which somewhat differs from that of Euripides, appears in Apollod. Bibl. 3, 15, 6 (and in Plut. Thes. 3, 5): ἀσκοΰ τὸν προυχοντα πόδα, μεγα, φερτατε λαῶν, μὴ λυσῃς πρὶν ἐς ἄκρον Ά·θηναίων ἀφίκηνοα. ‘The bulging mouth of the wineskin, Ο best of men, loose not until thou hast reached the height of Athens.’2 1 Cf. T.B.L. Webster, The Tragedies of Euripides (London 1967) 54: ‘It is reasonable that he should pass through Corinth on his way from Delphi to Troezen,’ but cf. Α. Rivier, Essai sur le tragique dEuripide (Lausanne 1944) 55, and the literature cited by him. -
The Greatest Opera Never Written: Bengt Lidner's Medea (1784)
Western Washington University Masthead Logo Western CEDAR Music Faculty and Staff ubP lications Music 2006 The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) Bertil Van Boer Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/music_facpubs Part of the Music Commons Recommended Citation Van Boer, Bertil, "The Greatest Opera Never Written: Bengt Lidner’s Medea (1784)" (2006). Music Faculty and Staff Publications. 3. https://cedar.wwu.edu/music_facpubs/3 This Article is brought to you for free and open access by the Music at Western CEDAR. It has been accepted for inclusion in Music Faculty and Staff Publications by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Bertil van Boer The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) hen the Gustavian opera was inaugurated on 18 January 1773 with a performance of Johan Wellander and Fran- W cesco Antonio Baldassare Uttini’s Thetis och Pelée, the an- ticipation of the new cultural establishment was palpable among the audiences in the Swedish capital. In less than a year, the new king, Gustav III, had turned the entire leadership of the kingdom topsy-turvy through his bloodless coup d’état, and in the consolida- tion of his rulership, he had embarked upon a bold, even politically risky venture, the creation of a state-sponsored public opera that was to reflect a new cultural nationalism, with which he hoped to imbue the citizenry with an understanding of the special role he hoped they would play in the years to come. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Int. Jumping Competition Against the Clock CSI2*
Int. jumping competition against the clock 210 CSI2* Premium Tour Table A, FEI Art. 238.2.1 2 horses per athlete Height: 1.30 m Wednesday, 25. August 2021 - 16.40 hrs O F F I C I A L R E S U L T Rk CNR Horse Rider Nation Result 1. 222 Count Ebony Ivaylo Bonev 0 penalties 66.64 sec BUL dbay / 11y / S / Casall / Acobat II / HOLST / 105HH87 / Nora Georgieva 375,00 EUR 2. 561 Copacabana Gerfried Puck 0 penalties 68.58 sec AUT bay / 9y / M / Lifestyle / Cabardino N / 106KU60 / Erwin Berger 300,00 EUR 3. 157 Clooney Christoph Obernauer 0 penalties 68.74 sec AUT bay / 13y / G / Cornado NRW / Pablo / WESTF / 104HV70 / Christoph Obernauer 225,00 EUR 4. 477 Campobasso Natalie Soukupova 0 penalties 69.23 sec CZE bay / 10y / G / Cador 5 / Achill Libero H / HANN / 106GS28 / Medea Equestrian Team z.s. 150,00 EUR 5. 394 Uniflore de Beaufour Shaker Al Kazemi 0 penalties 69.39 sec KUW bay / 13y / M / Kashmir van Schuttershof / Diamant de Semilly / SEFR / 104QY64 / Muri Family 105,00 EUR 6. 720 Kara Luna Marie Christine Sebesta 0 penalties 72.80 sec AUT chest / 18y / M / Quidam's Rubin / Le Coeur / OLDBG / 102ML74 / Marie-Christine Sebesta 82,50 EUR 7. 660 Magic Life Veronika Kolarova 0 penalties 74.22 sec CZE grey / 11y / M / Cassini I / Askari / HOLST / 105DC68 / PAP spol. s.r.o. 60,00 EUR 8. 689 I Am Jan Maly 0 penalties 76.24 sec CZE bay / 8y / G / KWPN / 107GB64 / Elise Leisink 45,00 EUR 9. -
Faith and Authority in Euripides╎ Medea and the Bible
Proceedings of GREAT Day Volume 2011 Article 15 2012 Faith and Authority in Euripides’ Medea and the Bible Caitlin Kowalewski SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Kowalewski, Caitlin (2012) "Faith and Authority in Euripides’ Medea and the Bible," Proceedings of GREAT Day: Vol. 2011 , Article 15. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2011/iss1/15 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Kowalewski: Faith and Authority in Euripides’ <i>Medea</i> and the Bible Faith and Authority in Euripides’ Medea and The Bible Caitlin Kowalewski As people who are essentially foreigners, counterparts accountable to the higher law of the whether geographically or ideologically, Medea, gods who have potentially abandoned her. While Jesus, and his Apostles are forced into positions of she may remain unsure about her own goodness, subservience by the societies in which they live. she is confident in the fact that her enemies have They all exist as minorities, whose actions conflict wronged her, and will be judged by a higher power with social norms. Because of the hostility they for doing so. In her interactions with Creon, we can receive from figures of authority trying to preserve see how this respect for the actions of gods results these norms, their relationships with even higher in disdain for those of men. -
An Analysis of the Modern Medea Figure on the American Stage
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2013 Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage Melinda M. Marks San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Marks, Melinda M., "Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage" (2013). Master's Theses. 4352. DOI: https://doi.org/10.31979/etd.d5au-kyx2 https://scholarworks.sjsu.edu/etd_theses/4352 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE A Thesis Presented to The Faculty of the Department of Television, Radio, Film and Theatre San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Melinda Marks August 2013 i © 2013 Melinda Marks ALL RIGHTS RESERVED ii The Designated Thesis Committee Approves the Thesis Titled THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE by Melinda Marks APPROVED FOR THE DEPARTMENT OF TELEVISION, RADIO, FILM AND THEATRE SAN JOSÉ STATE UNIVERSITY August 2013 Dr. Matthew Spangler Department of Communication Studies Dr. David Kahn Department of Television, Radio, Film and Theatre Dr. Alison McKee Department of Television, Radio, Film and Theatre iii ABSTRACT THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE By Melinda Marks This thesis examines the ways in which three structural factors contained within three modern American adaptations of Euripides’ Medea serve to enhance the dominant personality traits of the main character.