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Journal articles on the topic 'Myth of Narcissus'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Tyminski, Robert. "Misreading Narcissus." International Journal of Jungian Studies 8, no. 3 (September 1, 2016): 159–67. http://dx.doi.org/10.1080/19409052.2016.1201776.

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ABSTRACTThis article explores the myth of Narcissus as told by Ovid. The author examines why one scene in the story became the focus for the term ‘narcissism’, which has been extrapolated to become a theoretical concept as well a diagnosis. Closer reading of the myth suggests this may have been a distortion. Narcissus as a mythological figure may tell us more about late male adolescence than we have given him credit for. Freud’s paper ‘On Narcissism’ is contrasted with Jung’s views on libido. One legacy of the way in which Freud conceptualized narcissism was to pathologize the development of gay men and women. Two cases are presented to show an alternative understanding of sexual development for young men in mid and late adolescence. The author proposes that a dawning awareness of feminine aspects of sexuality can be experienced as a kind of potentially harmful ‘flowering’, about which young men can feel considerable shame and anxiety.

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2

Ledermann, Rushi. "Ovid's Myth of Narcissus." British Journal of Psychotherapy 5, no. 2 (December 1988): 255–56. http://dx.doi.org/10.1111/j.1752-0118.1988.tb01080.x.

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3

Pile, Steve. "Echo, Desire, and the Grounds of Knowledge: A Mytho-Poetic Assessment of Buttimer's Geography and the Human Spirit." Environment and Planning D: Society and Space 12, no. 4 (August 1994): 495–507. http://dx.doi.org/10.1068/d120495.

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In Geography and the Human Spirit, Buttimer argues that the history of geographical concern is marked by cyclical time, which is distinguished by three phases: Phoenix, Faust, and Narcissus, By taking a longer look at one of these myths, Narcissus, it is possible to suggest that Buttimer bases her account on some problematic assumptions. Thus, the figure of Echo, absent from Buttimer's telling of the myth, can return to disrupt her story. This mytho-poetic assessment reveals something of the way in which ‘others’ are constituted in her story: I take this erasure to be symptomatic of an ‘othering’ humanism, which is predicated on the other, but considers itself self-grounded and thereby distances itself from others. The conclusion questions Buttimer's universalism, her concept of cyclical time, and her sense of a liberation cry of humanism, I suggest that an emancipatory geography cannot rely on undisclosed and marginalized ‘others’, in this case represented by the figure of Echo.

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4

Leticia Mercado. "Breaking the Myth: Bocángel's New Narcissus." Calíope 21, no. 2 (2016): 19. http://dx.doi.org/10.5325/caliope.21.2.0019.

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5

Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme expression. Both poems concern ill-fated homosexual love, "Du liebst mich nicht" most explicitly, if obliquely: the poem is a veiled reflection on the myth of Narcissus, a myth Platen frequently drew on as a symbol for his own homosexuality.

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6

Fox, Christopher. "The Myth of Narcissus in Swift's Travels." Eighteenth-Century Studies 20, no. 1 (1986): 17. http://dx.doi.org/10.2307/2738591.

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7

Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (October 1996): 480–523. http://dx.doi.org/10.1525/jams.1996.49.3.03a00040.

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8

LeVen, Pauline. "Echo’s Bones and the Metamorphoses of the Voice." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 14–25. http://dx.doi.org/10.1163/22129758-12341309.

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Abstract This article concentrates on the description of the demise of Echo in the Ovidian narrative of Echo and Narcissus in Metamorphoses 3. I argue that a pun in the line vox tantum atque ossa supersunt (3.398) encapsulates the problem at the heart of the myth: rather than being a reflection on the origins of the echo and the delusion of the senses, the myth of Echo is a meditation on the nature of the voice.

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9

Stone, Greg. "The Myth of Narcissus as a Surreptitious Allegory about Creativity." Philosophy and Literature 40, no. 1 (2016): 273–84. http://dx.doi.org/10.1353/phl.2016.0021.

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10

Jenkins, E. S. "Updating Narcissus, the Ur-myth of Media, for Digital Gaming." Games and Culture 11, no. 7-8 (March 19, 2015): 647–66. http://dx.doi.org/10.1177/1555412015577734.

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11

Rustin, Margaret. "The inspiration of the ancients: the myth of Narcissus and Echo." Infant Observation 22, no. 2-3 (September 20, 2019): 86–91. http://dx.doi.org/10.1080/13698036.2019.1680307.

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12

Hermans, Hubert J., and Willem Van Gilst. "Self-narrative and collective myth: An analysis of the Narcissus story." Canadian Journal of Behavioural Science/Revue canadienne des sciences du comportement 23, no. 4 (1991): 423–40. http://dx.doi.org/10.1037/h0079030.

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13

Margaroni, Maria. "From Medusa's Gaze to the myth of narcissus: TextualJouissanceand theoretical hubris." European Journal of English Studies 1, no. 1 (April 1997): 73–85. http://dx.doi.org/10.1080/13825579708574379.

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14

Javanbakht, Arash. "Was the myth of narcissus misinterpreted by freud? Narcissus, a model for schizoid–histrionic, not narcissistic, personality disorderarash javanbakht." American Journal of Psychoanalysis 66, no. 1 (March 17, 2006): 63–71. http://dx.doi.org/10.1007/s11231-005-9003-1.

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15

Renger, Almut-Barbara. "Narrating Narcissus, reflecting cognition: Illusion, disillusion, “self-cognition” and “love as passion” in Ovid and beyond." Frontiers of Narrative Studies 3, no. 1 (August 8, 2017): 9–32. http://dx.doi.org/10.1515/fns-2017-0002.

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AbstractSince Ovid’s version of the Narcissus narrative, numerous readings and re-narrations have emerged across the globe that are related to the ancient myth of the beautiful youth who unwittingly sees himself in a pool of water and eventually dies staring at the insubstantial image. Generating a wide spectrum of reinterpretations of values, ideas, and aesthetic aspects inherent in the ancient narrative, its reception history has continued to elicit some of the most diverse intellectual responses to Greek and Roman mythology, each of them reflecting the cultural context in which they were produced. The present article is devoted to this issue, providing introductory perspectives on the Ovidian narrative and its ramifications by giving particular examples, especially of works taking up central themes of Ovid’s version, such as reflection and deception, illusion and (self-)cognition, passionate love for another and the incurable desire for oneself. Sensitive to the cultural contexts out of which the examples emerge, the paper conceptually frames the topics of narrative and narcissism, and contextualizes them by drawing on insights from several theoretical strands and academic disciplines.

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16

TOMKINS, LEAH. "The Myth of Narcissus: Ovid and the Problem of Subjectivity in Psychology." Greece and Rome 58, no. 2 (September 26, 2011): 224–39. http://dx.doi.org/10.1017/s0017383511000131.

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This article discusses an engagement between the worlds of classical poetry and contemporary empirical psychology. What starts with a return to a classical text through the lens of psychology turns into a review of psychology through the lens of the Classics, inspiring some fresh ideas about subjectivity and how to handle it in psychological research. The question of subjectivity is, of course, a key one for the humanities, because the personhood of the reader, the interpreter, or the researcher exerts a vital influence on the way in which any text is read and its meaning extracted.

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17

Kramer, Lawrence, and Kristina Muxfeldt. "On "Schubert, Platen, and the Myth of Narcissus" by Kristina Muxfeldt, Fall 1996." Journal of the American Musicological Society 50, no. 1 (April 1997): 225–27. http://dx.doi.org/10.1525/jams.1997.50.1.03a00130.

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18

Ramalingam, Vivian S. "On "Schubert, Platen, and the Myth of Narcissus" by Kristina Muxfeldt, Fall 1996." Journal of the American Musicological Society 50, no. 2-3 (July 1997): 530–36. http://dx.doi.org/10.1525/jams.1997.50.2-3.03a00150.

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19

Ramalingam, Vivian S. "On Schubert, Platen, and the Myth of Narcissus by Kristina Muxfeldt, Fall 1996." Journal of the American Musicological Society 50, no. 2-3 (1997): 530–36. http://dx.doi.org/10.2307/831849.

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20

Kramer, Lawrence, and Kristina Muxfeldt. "On "Schubert, Platen, and the Myth of Narcissus" by Kristina Muxfeldt, Fall 1996." Journal of the American Musicological Society 50, no. 1 (1997): 225–27. http://dx.doi.org/10.2307/832072.

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21

Greer, Margaret R. "Tragic Resonance: Listening for Women’s Voices in the Myth of Echo and Narcissus." Bulletin of the Comediantes 72, no. 1 (2020): 73–101. http://dx.doi.org/10.1353/boc.2020.0004.

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22

Bologova, Marina A. "Motifs of the myth about Echo and Narcissus in the novels by M. Rybakova." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2011): 107–11. http://dx.doi.org/10.17223/18137083/34/16.

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23

Balázs, Zsuzsanna. "Yeats's Queer Dramaturgies: Oscar Wilde, Narcissus, and Melancholy Masculinities in Calvary." International Yeats Studies 4, no. 1 (January 1, 2020): 15–44. http://dx.doi.org/10.34068/iys.04.01.02.

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This article opens up Yeats’s Calvary (1920) for new contemporary queer theatrical interpretations by addressing the tension between dramaturgies of exclusion and inclusion as well as between the authority of masculinity and the transgressive counter-authority of effeminacy and melancholy masculinities. Due to Yeats’s anti-democratic and elitist remarks and his problematic responses to authoritarian political performance in Europe and Ireland, his theatre is often seen as a space which fosters exclusion, conventional notions of heroism, and sexual polarization. Even though the authoritarian and elitist aspects of Yeats’s life and work cannot be denied, his rich queer and feminist networks, and most importantly his sympathy for Oscar Wilde and Roger Casement changed and shaped the representations of gender in his plays in considerable ways. Thanks to these influences, Yeats’s drama took significant steps towards creating space for a queer dramaturgical epistemology which refuses totalizing and homogenizing (hetero)normative frames, mostly those of hyper-masculinity, Carlylian views of heroism and sexual/gender polarization. Through the lens of performance and queer theory, this article highlights the anti-normative and anti-authoritarian potential of Yeats’s theatre in the context of Wilde’s influence. Yeats does not mention Wilde in his notes to Calvary, but his essays about Wilde prove that he identified the hardships of Wilde’s life with those of Christ and also Lazarus even more than two decades after Wilde’s death. This study also illustrates how the use of the unhappy Lazarus motif and the implicit references to the myth of Narcissus in Calvary can serve to express sympathy for Wilde and precarious, stigmatized lives in general and can thus convey vital messages about queerness today.

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24

Lipjankic, Dina. "Narcissistic Echo: The myth of Narcissus multiplied and transformed in Oscar Wilde's the Picture of Dorian Gray." Nasledje, Kragujevac 14, no. 38 (2017): 289–300. http://dx.doi.org/10.5937/naslkg1738289l.

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25

Coulson, Victoria. "The baby and the mirror: the sexual politics of the Narcissus myth in poststructuralist theory, Winnicottian psychoanalysis, and Ovid'sMetamorphoses III." Textual Practice 27, no. 5 (March 13, 2013): 805–23. http://dx.doi.org/10.1080/0950236x.2013.767855.

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26

Fusé, Toyomasa. "Abstracts and Reviews : A PERSONAL MYTH - YUKIO MISHIMA: THE SAMURAI NARCISSUS by DAVID E. MCPHERSON. Psychoanalytic Review 73 (1986) pp. 361-379." Transcultural Psychiatric Research Review 25, no. 2 (June 1988): 142–45. http://dx.doi.org/10.1177/136346158802500212.

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27

Kellner, Hans. "A Dutchman Views the World – Ankersmit as a Reader." Journal of the Philosophy of History 12, no. 3 (November 28, 2018): 371–90. http://dx.doi.org/10.1163/18722636-12341403.

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AbstractThroughout his extensive work, Frank Ankersmit presents a mode of reading that informs his philosophy of history. He has commented in passing that the visuality of his approach is a Dutch trait, and that historical works succeed when they serve as a “belvedere,” offering a panoramic view. His discussions of Erich Auerbach and Hayden White reveal his own reading protocols, which differ from those of the great readers Auerbach and White, however, in that Ankersmit does not read his texts “proximally,” as linguistic artefacts. Instead, he favors a “distal” stance from his texts in order to see the work as a whole, as a pictorial narratio. In this way, the reader-viewer may experience an aesthetic mood like the one Ankersmit feels, for example, when confronted by a Guardi painting. Further, in his discussion of Gibbon and Ovid, he shows that the myth of Narcissus, in which admiration of an image is replaced by a mere echo, reveals a danger of historical representation and the need for a metamorphic picture, blurring the contours. If we consider Ankersmit as a reader with a pictorial sense, whether “Dutch” or not, his position as a philosopher of experience will come into better focus.

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28

García-García, Francisco, Miguel Baños-González, and Paloma Fernández-Fernández. "Structures and Archetypal Content in Advertising Communication." Comunicar 19, no. 37 (October 1, 2011): 187–94. http://dx.doi.org/10.3916/c37-2011-03-11.

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The aim of this investigation is the study of publicity from the point of view of the archetypes, following a hermeneutic model of analysis of the content; through this we have studied the presence of the Greek mythological figures in comparison with the characters that appear in the advertising messages of perfumes, which at first allows us to observe the analogy of the gods of the old Greek Mythology with real human archetypes; secondly, it allows us to dig deeper into these advertising contents to know if these stories are purely commercial or if they could be interpreted with other meanings. The results of this analysis show a high participation of the female archetype of the woman as a wife, related to the goddess Hera, and followed by the archetype of the sensuality represented by the Aphrodite goddess and that of the goddess Artemisia or goddess of liberty; in perfume commercials aimed at men, the biggest frequency in the myth of Zeus and of Narcissus is emphasized, as archetypes of power and success, continued by the presence of the myth of Odysseus, the hero’s archetype, known as a model of strategist and intelligence; in commercials aimed at both sexes the myth of Dionysus as archetype of the party and transformation is the most relevant, followed by the myth of the brothers Hera-Zeus that become husbands and fathers of the Greek Panteon of Mithological Gods.Esta investigación tiene como objeto el estudio de la publicidad desde la óptica de los arquetipos, siguiendo un modelo hermenéutico de análisis del contenido; a través de él hemos estudiado la presencia de las figuras mitológicas griegas más conocidas en comparación con los personajes que aparecen en los mensajes publicitarios de perfumes, lo que nos permite observar en primer lugar la analogía de los dioses de la Antigua Mitología Griega con arquetipos humanos reales; en segundo lugar, nos permite profundizar en estos contenidos publicitarios para saber si estos relatos son puramente comerciales o admiten otras interpretaciones. Los resultados de este trabajo revelan la mayor presencia del arquetipo femenino de la mujer como pareja, relacionado con la diosa Hera, modelo de esposa, seguido en frecuencia por el arquetipo de la sensualidad representado por la diosa Afrodita y en tercer lugar el de la diosa Artemisa o la libertad; en los anuncios de perfumes dirigidos al sector masculino destaca la mayor frecuencia del mito de Zeus y de Narciso, como arquetipos del poder y el éxito, seguido del mito de Odiseo, arquetipo del héroe, reconocido como modelo del estratega y la inteligencia; en los anuncios dirigidos a ambos sexos el mito de Dionisos como arquetipo de la fiesta y la transformación es el más relevante, seguido del mito de los hermanos Hera-Zeus que evolucionaron a esposos y padres del Panteón griego.

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Medeiros, Vasco. "THE METAMORPHOSIS OF SELF(IE)-PORTRAIT: BETWEEN THE SUBLIME AND THE BANAL." ARTis ON, no. 10 (December 29, 2020): 177–92. http://dx.doi.org/10.37935/aion.v0i10.277.

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The analogy between the myth of Narcissus, referred to as the intrinsic symbol of painting by Leon Battista Alberti; the typological value of self-portrait as an ontological and statutory reference; its value while metamorphosis of reality; and the self-representative phenomenon that Selfi e translates – all this has to be established and requires due consideration. When dwelling on the contemporary Selfi e we need to consider also the salvifi c dimension of this kind of self-representation mechanisms that have always been there. The value of image while self-awareness mechanism compels us to question the fi eld of action where it is far more active – on social media. Its immanence is a true narcissistic affl iction. The intrinsic and immediate value of image thus overlaps sign and word. The mechanisms of self-contemplation thus produced translate into a clear ontological impoverishment of reality. The Selfi e does not prevent the subject’s Kafkian metamorphosis, but renders reality vulgar, making it acceptable through both similarity and integration. Self-portrait and Selfi e are thus the ancestral mechanisms of self-preservation. Its origin derives from narcissistic mechanisms that require a continuous desire to stand out socially. However, while the pictorial self-portrait translates into epistemic valuation of its author, Selfi e delights in the vulgarization of the repetitive and banal gesture.

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30

Hosseinabadi, Majid, Bahram Ali Ghanbary Hashemabady, Hossein Kareshki, and Morteza Modares Gharavi. "Narcissistic Disturbances as the Bedrock of Difficulties in Emotional Regulation and Self-Destructive Behavior in Melancholic Patients: A Psychoanalytic Re-Evaluation of Narcissus Myth." Practice in Clinical Psychology 6, no. 1 (January 1, 2018): 47–56. http://dx.doi.org/10.29252/nirp.jpcp.6.1.47.

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31

Barclay, Michael W. "The Echo Phase." Journal of Phenomenological Psychology 24, no. 1 (1993): 17–45. http://dx.doi.org/10.1163/156916293x00026.

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AbstractThis article focuses on the significance of acoustical phenomena (acoumena) in the development of the subjectivity of the infant. An attribute of that development, beginning with the breakdown of psychological symbiosis for the infant, is the loss implicit in the eventual participation of the subject in a symbolic order and the consequent acquisition of language. The essay examines how such loss can contribute to the constitution of the subject and the ego of the subject. Two aspects of language, metaphor and metonymy, are examined in regard to their fundamental relationship to subjectivity. The character Echo, from the myth of Narcissus and Echo, is the namesake for a phase of development, the Echo Phase, which is postulated to begin after the third month of life. During this phase, to some extent the development of the subject depends upon intersubjectivity and concomitant auditory and linguistic phenomena. It is an implicit purpose of this essay to understand the advent of the ego as the expression of a phenomenological structure, dependent upon language and intersubjectivity, that mediates between subject and world. ... By chance Narcissus lost track of his companions, started calling "Is anybody here?" and "Here!" said Echo. He looked around in wonderment, called louder "Come to me!" "Come to me!" came back the answer. He looked behind him, and saw no one coming; "Why do you run from me?" and heard his question Repeated in the woods. "Let us get together!" There was nothing Echo would ever say more gladly, "Let us get together!" And to help her words, Out of the woods she came, with arms all ready To fling around his neck. But he retreated: "Keep your hands off," he cried, "and do not touch me! I would die before I give you a chance at me." "I give you a chance at me," and that was all She ever said thereafter, spurned and hiding, Ashamed, in the leafy forests, in lonely caverns. She frets and pines, becomes all gaunt and haggard, Her body dries and shrivels till voice only And bones remain, and then she is voice only For the bones are turned to stone. She hides in woods And no one sees her now along the mountains, But all may hear her, for her voice is living. Ovid, Metamorphoses

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32

Ball, Hilary. "“A Fair Boy, Certain, but a Fool to Love Himself”: Queer Reflections of the Myth of Narcissus in Shakespeare and Fletcher’s The Two Noble Kinsmen." Shakespeare 16, no. 1 (August 31, 2018): 1–13. http://dx.doi.org/10.1080/17450918.2018.1504812.

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33

Humbert, David. "The Return of Adam: Freud's Myth of the Fall." Religious Studies 29, no. 3 (September 1993): 287–96. http://dx.doi.org/10.1017/s0034412500022344.

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Despite its loss of intellectual respectability in the nineteenth century, the myth of the fall still haunts modern religion and thought like an unquiet ghost. Discredited in its role as an historical account of human origins, it has retained its vitality as a ‘psychological’ myth, an inexhaustible metaphor for the brokeness and fragmentation of the human spirit. The myth of the fall surfaces in the twentieth century in the form of the psychoanalysis of Sigmund Freud, who would not normally spring to mind as someone sympathetic to the myth. Freud is perhaps the most famous ‘demythologizer’ of religion. He traced all religion and myth, including the myth of original sin, back to non-spiritual psychological processes. But although he clearly wished to deconstruct all traditional myth, myth plays an indisputable role in his own psychological theories. Some of his psychological constructs, such as the ‘Oedipus complex’ and the concept of ‘narcissism’, are inspired by Greek myths. Others, like the theory of the death instinct, are founded on scientific speculations which clearly resemble myths. The myth of the primal horde in particular draws its rhetorical power from its similarity to the Biblical account of the fall. Both the Biblical account of the fall and the psychohistorical ‘myth’ of the primal horde attribute the conflicts and imperfections of the human condition in part to an inherited guilt, an inherited guilt which stems from a decisive and fateful historical event in the past.

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34

Kozlova, Marina A. "City image as a personification of female nature in “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 106–9. http://dx.doi.org/10.34216/1998-0817-2021-27-1-106-109.

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The paper is devoted to the peculiarities of the creation of the personified image of the city in the novel “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach, which, according to the author himself, represents not only the protagonist, but also its organising force. The Belgian author draws on an earlier literary tradition, according to which the city appears to the poet's mind in the form of a woman. The image of the city is built on the combination and interaction of different elements, among which those that are considered in the article: the theme of duality, the motif of reflection, which becomes the main constructional principle of the image system of the novel, as well as references to mythological and literary archetypes. The theme of duplicity is directly connected with the category of correspondence or analogy, which is central to Rodenbach's oeuvre and forms a peculiar poetics of reflection and determines the choice of expressive means. Dualism is associated with a hostile, dark and demonic force, contrasted with the "holy" and infallible feminine ideal, embodied in the image of the perished beloved, who is also a prototype of the city. The poeticised image of the city is related to archetypical figures that are typical of European symbolism – first of all, Ophelia, but also Orpheus and Narcissus, all this through an appeal to the symbolism of water and the otherworld, then through the main character's attempt to overcome the border between worlds and create a new myth about love that defeats death.

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35

Frelick, Nancy. "La passion au miroir: les dizains spéculaires de Délie." Renaissance and Reformation 38, no. 3 (November 27, 2015): 17–40. http://dx.doi.org/10.33137/rr.v38i3.26146.

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Cet article se donne pour but d’examiner l’expression et la représentation des passions dans les dizains spéculaires de Délie, object de plus haulte vertu de Maurice Scève à la lumière de plusieurs traditions (ovidienne, platonicienne, pétrarquiste, ficinienne, etc.). Il s’agira donc d’analyser les usages multiples de la symbolique des miroirs dans le texte, ainsi que les réseaux de sens liés aux passions suscitées par la contemplation spéculaire. Le miroir sert non seulement de médiateur au désir, à travers le « Cristal opaque » (D229) qui renvoie l’image de la bien-aimée, mais il est parfois même personnifié pour pouvoir exprimer ses propres plaintes d’amour et le pouvoir paradoxal de l’œil de la « Damoiselle » qui a le même effet sur lui que sur les hommes (D230). Ses jeux d’absence et de présence, de surface et de profondeur évoquent aussi l’inaccessibilité de la Dame dans cette « heureuse fontaine » qui cèle l’image de Délie dans ses « sacrées undes » (D235). Il sert également à évoquer le regard mortifère de la dame dont la face s’avère un « miroir meurdrier de ma vie mourante » (D307). La métaphore du miroir sert aussi à évoquer le regard introspectif de l’amant-poète qui se contemple. Entre autres, nous pourrons nous demander si cette « méditation du miroir reste dominée par l’univers platonicien des Idées » comme le suggère Jean Frappier — si « le mythe de Narcisse » est vraiment « dépassé, purifié » dans le texte scévien. This article examines the expression and portrayal of passion in the mirror poems of Maurice Scève’s Délie, object de plus haulte vertu, in light of several traditions (influenced by Ovid, Plato, Petrarch, Ficino, etc.). It analyzes the multiple uses of mirror metaphors in the text, along with symbolic networks related to conflicting desires, thoughts, and emotions brought about by the specular contemplation of the self and the love object. The mirror serves not only as a mediator of desire, through the “Cristal opaque” (of D229, for example) that reflects the image of the beloved. It is sometimes personified, so that it may express its own cries of love and sorrow, and the paradoxical power of the Lady’s eyes that can affect it in the same way as it does men (D230). Plays on the co-opposites of presence and absence, or surface and depth, are used to evoke the inaccessibility of the Lady in the “heureuse fontaine” that hides Délie’s image in its sacred waters (D235). In addition, the looking glass evokes the fatal gaze of the Beloved whose face becomes a “miroir meurdrier de ma vie mourante” (D307). Mirror metaphors are also used to evoke the introspective gaze of the poet-lover who contemplates his own emotional state. Among other things, we will reconsider Jean Frappier’s thesis that this specular meditation is dominated by the Platonic world of Ideas and that these poems go beyond the Narcissus myth, which he sees as “surpassed, purified” in Scève’s text.

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36

Goldberg, Greg. "Through the Looking Glass: The Queer Narcissism of Selfies." Social Media + Society 3, no. 1 (January 2017): 205630511769849. http://dx.doi.org/10.1177/2056305117698494.

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A number of scholars have recently argued that the selfie needs to be understood outside of the discourse of narcissism. Rather than leaving this discourse behind, this article focuses on the “hype” of selfies as narcissistic in order to identify and ultimately trouble the political unconscious of this diagnosis, and to ask, what is the problem of narcissism such that it can serve as a means of devaluing, and what kind of politics might we find in the behaviors, proclivities, or attributes identified as narcissistic? The article argues that the problem of narcissism is less an exaggerated focus on the self than it is a failure of responsibility for oneself, and/or an insufficient concern for the well-being of others to whom the narcissist ought to be responsible. Drawing from the antisocial thesis in queer theory, the article argues that this normative investment in responsible subjectivity is motivated, rather ironically, by a desire to annihilate difference. As a “solution” to this desire, the article offers queer theorist Leo Bersani’s notion of “impersonal narcissism,” which it understands in relation to the queerness of the myth from which narcissism takes its name. In short, the article does not aim to evaluate empirically attributions of selfie narcissism—whether to confirm or falsify—but rather to problematize the diagnosis of narcissism as rooted in a normative project that works to produce responsible subjects, and to suggest that this project is compromised by a queer indifference to difference, as critics fear.

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KISLIN, KONSTANTIN B. "INTERPRETATION OF THE MYTH OF NARCISSUS AND ECHO IN A TREATISE “OVIDIUS MORALIZATUS” BY PETRUS BERCHORIUS IN THE CONTEXT OF RECEPTION OF THE ANTIQUE MYTHOLOGY IN FRANCE OF THE 12TH -14TH CENTURIES." Study of Religion, no. 2 (2020): 91–98. http://dx.doi.org/10.22250/2072-8662.2020.2.91-98.

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38

Lester, Eva P. "Narcissism and the Personal Myth." Psychoanalytic Quarterly 55, no. 3 (July 1986): 452–73. http://dx.doi.org/10.1080/21674086.1986.11927149.

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Butterfield, Ingrid. "The myth of Jocasta and maternal narcissism." Australasian Psychiatry 20, no. 2 (March 27, 2012): 153–56. http://dx.doi.org/10.1177/1039856212438952.

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40

Irwin, John T. "Horace Benbow and the Myth of Narcissa." American Literature 64, no. 3 (September 1992): 543. http://dx.doi.org/10.2307/2927751.

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41

O'Neal, John C. "Myth, Language, and Perception in Rousseau's "Narcisse"." Theatre Journal 37, no. 2 (May 1985): 192. http://dx.doi.org/10.2307/3207065.

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42

Sandison, Garry. "Beckett's Embers and the Modernist Ovid: a Tiresian Poetic?" Journal of Beckett Studies 22, no. 2 (September 2013): 180–200. http://dx.doi.org/10.3366/jobs.2013.0071.

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This paper interprets the second Beckett radio play, Embers, as a miniature epic that reworks numerous myths from Ovid's Metamorphoses. Paradoxically exploiting an aural broadcast medium, Beckett thus creates, in the listener's imagination, a mythical series of interlocking visual ekphrases. Comparison of the earliest extant versions, the MS THR 70.3 holograph and MS 4664 typescript, also suggests that Beckett's Embers – after Eliot's The Waste Land – dramatises the revelatory afflatus of Orphico-Dionysiac ritual initiation. Though caricatured in Plato's parable of the cave, such mystical gnosis was later celebrated in Ovid's interwoven myths of Echo, Narcissus, and the blind shaman Tiresias.

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Gerson, Sam. "The Myth of Samson: Omnipotence, Alienation and Destructive Narcissism." Studies in Gender and Sexuality 12, no. 2 (April 13, 2011): 89–96. http://dx.doi.org/10.1080/15240657.2011.559435.

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Mellor, Leo. "George Barker in the 1930s: Narcissus and the Autodidact." Modernist Cultures 10, no. 2 (July 2015): 250–68. http://dx.doi.org/10.3366/mod.2015.0111.

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This article traces the complex and potent role of classical mythology in the poet George Barker's work of the 1930s. Noting Geoffrey Grigson's rage about ‘narcissism’ when reviewing Barker in 1935 it shows why this barb was more perceptive and apposite – in acknowledging an obsession with both a figure and an overtly classical precedent – than the acclamation given to Barker at the time, from T. S. Eliot among others. Central to the article is an exploration of Barker's heterodox version of a common modernist urge: encountering and reworking of fractured myths. For the radical and ever-present notions of uncertainty with which classical tales and Gods are treated in Barker's work is also revelatory of the autodidactic process – incomplete, unstable, and without class-annotated cultural authority – by which he gained such knowledge. The article thus situates Barker within a cultural matrix, and draws renewed attention to the pluralities of poetry within 1930s Britain.

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Rojas-Urrego, Alejandro. "L'adolescent et l'autre dans le mythe de Narcisse." L'Autre 2, no. 2 (2001): 311. http://dx.doi.org/10.3917/lautr.005.0311.

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Menon, Mohan K., and Alex Sharland. "Narcissism, Exploitative Attitudes, and Academic Dishonesty: An Exploratory Investigation of Reality Versus Myth." Journal of Education for Business 86, no. 1 (January 2011): 50–55. http://dx.doi.org/10.1080/08832321003774772.

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Bernsdorff, Hans. "P.Oxy. 4711 And The Poetry Of Parthenius." Journal of Hellenic Studies 127 (November 2007): 1–18. http://dx.doi.org/10.1017/s0075426900001580.

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Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially with fr. 28 Lightfoot, which might come from the Metamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.

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Derouiche El Kamel, Salma. "Variations sur le mythe de Narcisse dans l’œuvre de Francis Bacon." Le Coq-héron 233, no. 2 (2018): 148. http://dx.doi.org/10.3917/cohe.233.0148.

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Willis, Malachi, Alex Birthrong, Jake S. King, Rosemery O. Nelson-Gray, and Robert D. Latzman. "Are infidelity tolerance and rape myth acceptance related constructs? An association moderated by psychopathy and narcissism." Personality and Individual Differences 117 (October 2017): 230–35. http://dx.doi.org/10.1016/j.paid.2017.06.015.

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Soler, Colette. "Nouvelle économie du narcissisme." Revista de Psicanálise Stylus, no. 34 (August 29, 2017): 11–26. http://dx.doi.org/10.31683/stylus.v0i34.37.

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Ce texte indique un renouvellement du concept de narcissisme des changements introduits par Lacan, les trottoirs dans l’avènement de la théorie du nœud borroméen. Pour cela, l’auteur montre comment l’enregistrement imaginaire a été examiné par Lacan à sa subordination à la symbolique. Reprise du stade du miroir, qui souligne les conséquences de cette nouvelle interprétation du concept de narcissisme, établissant trois narcissismes: l’image, le désir et le plaisir. Ainsi, l’auteur propose une nouvelle économie du narcissisme à travers le mythe de Narcisse, relectures d’une étude sur l’escabeau, où la dimension de l’imagination est élargie avec l’inclusion de l’objet. Cette conception a un impact considérable sur la question des liens sociaux aujourd’hui.

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