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Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.
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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.
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Regan, Susan Rae. "Women's essential nature, a classical, communitarian gender mythology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25937.pdf.
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Harrelson, Jeremiah James. "The miracle narratives in Luke allusions to classical mythology? /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Vollkommer, Rainer. "Herakles in the art of classical Greece." Oxford : Oxford University Committee for Archaeology, 1988. http://books.google.com/books?id=ur2fAAAAMAAJ.
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Delbar, David Carter. "Myths on the Move: A Critical Pluralist Approach to the Study of Classical Mythology in Post-Classical Works." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7492.
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The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology.
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Dipla, Anthi. "Images of revolt : women of myth in the art of classical Athens." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297329.
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Turner, Catherine. "The dream image and the dread image : dramatists' responses to Helen of Troy." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296289.
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D'Andrea, Paola. "Classical reception in Sir Walter Scott's Scottish novels : the role of Greece and Rome in the making of historico-national fiction." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722557.
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Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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Thesis (Ph. D.)--University of Oregon, 1999.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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Ruutu, Hanna. "Patterns of transcendence : classical myth in Marina Tsvetaeva's poetry of the 1920s /." Helsinki : Dep. of Slavonic and Baltic Languages and Literatures, 2006. http://www.loc.gov/catdir/toc/fy0803/2007465568.html.
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Bocksberger, Sophie Marianne. "Telamonian Ajax : a study of his reception in Archaic and Classical Greece." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a9bacb2a-7ede-4603-9e6a-bf7f492332ed.
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This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.
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McKendrick, Scot. "Classical mythology and ancient history in works of art at the Courts of France, Burgundy and England 1364-1500." Thesis, Courtauld Institute of Art (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282956.
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Posthumus, Liane. "Hybrid monsters in the Classical World : the nature and function of hybrid monsters in Greek mythology, literature and art." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6865.
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Thesis (MPhil (Ancient Studies))--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: The aim of this thesis is to explore the purpose of monster figures by investigating the relationship
between these creatures and the cultures in which they are generated. It focuses specifically on the
human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to
answer the question of the purpose of these monsters by looking specifically at the nature of manhorse
monsters and the ways in which their dichotomous internal and external composition
challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a
ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster,
conforms to the expectations of ritual monsters.
The investigation starts by considering the history and uses of the term “monster” in an attempt to
arrive at a reasonable definition of monstrosity. In aid of this definition, attention is also given to
themes that recur when considering monster beings. This provides a basis from which the hybrid
monsters of ancient Greece, the centaur and Minotaur in particular, can be considered.
The next section of the thesis looks into the attitudes to animals prevalent in ancient Greece. The
cultural value of certain animal types and even certain body parts have to be taken account, and the
degree to which these can be traced to the nature and actions of the hybrid monster has to be
considered.
The main argument is divided in two sections. The first deals with the centaur as challenger to
Greek cultural taxonomy. The centaur serves as an eminent example of how human-animal hybrid
monsters combine the familiar and the foreign, the Self and the Other into a single complex being.
The nature of this monster is examined with special reference to the ways in which the centaur, as
proponent of chaos and wilderness, stands in juxtaposition to the ideals of Greek civilisation. The
second section consists of an enquiry into the purpose of the hybrid monster and considers the
Minotaur’s role as a facilitator of transformation. The focus is directed towards the ritual function of
monsters and the ways in which monsters aid change and renewal both in individuals and in
communities. By considering the Theseus-myth and the role of the Minotaur in the coming-of-age of
the Attic hero as well as the city of Athens itself, the ritual theory is given application in ancient
Greece. The conclusion of this thesis is that hybrid monsters, as manifestations of the internal dichotomy of
man and the tenuous relationship between order and chaos, played a critical role in the personal and
communal definition of man in ancient Greece.<br>AFRIKAANSE OPSOMMING: Die doelstelling van hierdie tesis is om die sin van monsters te ondersoek deur te kyk na die
verhouding wat bestaan tussen hierdie wesens en die gemeenskappe waarbinne hulle hul ontstaan
het. Die tesis fokus spesifiek op die mens-dier hibriede monster in die mitologie, literatuur en kuns
van antieke Griekeland. Dit probeer om tot ‘n slotsom te kom oor die bestaansrede van monsters
deur te kyk na die aard van die man-perd monster. Hierdie wese se tweeledige samestelling – met
betrekking tot beide sy interne en eksterne komposisie – het ‘n wesenlike bedreiging ingehou vir die
kulturele taksonomie van die antieke Grieke. Die tesis kyk ook na die rol, van monsters in die
konteks van rituele gebeure. Die mite van Theseus as ‘n mite met rituele verbintenisse, en die
Minotaurus as hibriede monster, word dan oorweeg om te bepaal wat die ooreenstemming is met die
verwagtinge wat daargestel is vir rituele monsters.
Ten einde ‘n redelike definisie van monsteragtigheid daar te stel, begin die ondersoek deur
oorweging te skenk aan die geskiedenis en die gebruike van die woord “monster”. Ter
ondersteuning van hierdie definisie word daar ook aandag geskenk aan sekere temas wat
herhaaldelik opduik wanneer monsters ter sprake kom. Dit skep ‘n basis vir die ondersoek na die
hibriede monsters van antieke Griekeland, en meer spesifiek na die kentaurus en die Minotaurus.
Die tesis oorweeg ook die houding van die antieke Griekse beskawing teenoor diere. Die kulturele
waarde van sekere soorte diere, en selfs seker ledemate van diere, moet in ag geneem word
wanneer die hibriede monsterfiguur behandel word. Aandag moet geskenk word aan die maniere
waarop die assosiasies wat die Grieke met diere gehad het, oorgedra word na die aard en
handelinge van die monsterfiguur.
Die hoofargument van die tesis word in twee dele uiteengesit. Die eerste gedeelte behandel die
kentaurus as uitdager van die kulturele taksonomie van die antieke Grieke. Die kentaurus dien as ‘n
uitstekende voorbeeld van die manier waarop die mens-dier monster dit wat bekend is en dit wat
vreemd is, die Self en die Ander, kombineer in een komplekse wese. Die aard van hierdie wese word
ondersoek met spesifieke verwysing na die maniere waarop die kentaurus, as voorstander van die
ongetemde en van chaos, in teenstelling staan teenoor die ideale van die Griekse beskawing. Die
tweede gedeelte vors die doel van die hibriede monster na en oorweeg die Minotaurus se rol as
bevorderaar van transformasie. Hier word gefokus op die rol van die monster in ’n rituele konteks en die maniere waarop monsters verandering en vernuwing teweegbring in enkelinge sowel as in
gemeenskappe. Hierdie teorie word van toepassing gemaak op antieke Griekeland deur die mite van
Theseus en die rol van die Minotaurus te oorweeg binne die konteks van die proses van inburgering
wat beide die held en sy stad, Athene, ondergaan.
Die gevolgtrekking van hierdie tesis is dat hibriede monsters, as uitbeeldings van die interne
tweeledigheid van die mens sowel as van die tenger verband tussen orde en chaos in die wêreld, ‘n
noodsaaklike rol gespeel het in die persoonlike en sosiale definisie van die individu in antieke
Griekeland.
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McKenna, Edward Francis. "Live or Die unmasking the mythologies of Anne Sexton's poetry /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/mckenna/McKennaE0508.pdf.
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Tagalidou, Efpraxia. "Weihreliefs an Herakles aus klassischer Zeit." Jonsered : P. Ǻströms, 1993. http://catalogue.bnf.fr/ark:/12148/cb388954183.
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Hütwohl, Dannu. "The Birth of Sacrifice: Ritualized Deities in Eastern Mediterranean Mythology." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1606754016335887.
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Myssok, Johannes Canova Antonio. "Antonio Canova : die Erneuerung der klassischen Mythen in der Kunst um 1800 /." Petersberg : Imhof, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2898498&prov=M&dok_var=1&dok_ext=htm.
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Rodrigues, Camila. "Abordagem discursiva em Kojiki." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-19022019-192002/.
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Esta pesquisa utiliza a análise do discurso para investigar os valores ideológicos que fundamentam o discurso presente em Kojiki tomo I, a obra mais antiga do Japão. Além de sua antiguidade, sua importância consiste por seu repositório dos primeiros mitos, mitologia japonesa, história e poema-canção (歌謡:Kayō). Nesta pesquisa os mitos são símbolos da nova estrutura que se estabelece neste período, regulando suas práticas sociais. Eles possuem duas funções na narrativa: uma temporal, relacionada ao evento passado e atemporal, cuja importância está sempre presente em sua comunidade. Sua segunda função é criar suas lideranças políticas e um sentimento de pertencimento a uma cultura. Como tal, considera-se três questões: qual o papel da cosmogonia e dos mitos dentro do tomo I? Como se constitui a organização narrativa desses mitos e qual a formação do herói? E, de acordo com essa organização, qual a função que se quis destacar no tomo I? Para responder a essas questões, essa pesquisa analisa, sistematicamente, a construção do discurso nas narrativas utilizando teorias da linguagem e a Nova retórica, desenvolvida por Perelman e Tyteca (2014). Além disso, as relaciona ao contexto político do Japão nos períodos Yayoi (弥生時代: 400 a.C.-250 d.C.) até Nara (奈良時代: 710 - 794 d.C.). Este estudo conclui que a narrativa mítica estabelece o paradigma que rege as relações sociais do país. Isso ocorre porque o mito incorpora os significantes existentes na ordem simbólica japonesa. O primeiro tomo da obra atua como uma alegoria para narrar a origem da família imperial mais antiga do mundo, que hoje está no 125° imperador, Akihito (1989 - presente). Desprovido de suas particularidades do espaço e do tempo, a narrativa ainda preserva sua natureza mítica como um relato teleológico dessa sociedade.<br>This research uses speech analysis to investigate the ideological values in the discourse present in Kojiki - tome I, the oldest writing in Japan. Besides its antiquity, its importance relies on its repository of the first myths, the japanese mythology, history and poem-chant (歌謡:Kayō). In this research the myths are symbols of the new structure that has been set in this period, which orders the social practices. They have two functions in the narrative: the first is temporal, related to past events and atemporal, which importance is still present in its community. The second one is to create political leaderships and the feeling of belonging to a culture. As such, it is considered three questions: what are the roles of the cosmogony and the myths in tome I? How are the myths arranged in the narrative organization and how is the hero formed? And, according to this organization, what is the highlighted function in tome I? To address these questions this research analyses, systematically, the speech constructions in the narratives using theories of language and the New rhetoric, developed by Perelman and Tyteca (2014). Furthermore, they are connected to the political context in Japan during the Yayoi period (弥生時代: 400 A.D.-250 B.C.) up to the Nara period ((奈良時代: 710 - 794 B.C). This study concludes that the mythical narrative establishes the paradigm that conduct the social relations in the country. This happens because the myth incorporates the existent signifiers into the japanese order. The writings first tome works as an allegory to tell the origin of the oldest imperial family, which is in its 125th emperor, Akihito (1989 - present). Regardless of its time and space particularities, the narrative still maintains its mythical nature as a teleological report of this society.
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Granitz, Nicholas. "Heracles and the Foundings of Sparta and Rome." Ashland University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=auhonors1324002404.
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Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.
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Zandi, Sophia. "Grotesque, Bodily, and Hydrous: The Liminal Landscapes of the Underworld In Homer, Virgil, and Dante." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625864941501779.
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Hamilton, Christine Rose Elizabeth. "The Function of the Deus ex Machina in Euripidean Drama." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500421429824731.
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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Cognevich, Alicia. "The Tripartite Tributaries of Ush." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1366.
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Inspired by Vladimir Nabokov’s metafiction novel Pale Fire and with Joseph Campbell’s research in comparative mythology and religion in mind, I explore the act of mythmaking and the composition of metafictional text in this work of fiction. The myth aspect combines elements of Classical, biblical, medieval, Romantic, and original materials to form a product that should strike readers as both familiar and alien, demonstrating Campbell’s notion of the monomyth as well as the ongoing tradition of mythmaking that continues to captivate both readers and writers. The metafictional portion of the text emphasizes a reader’s relationship to a work of fiction, a scholar’s relationship to his or her scholarly work, and a subtext’s relationship to its primary text. Combining the texts encourages the reader to read critically and reevaluate his or her conceptions of genre in order to piece together the greater story of tyranny and rebellion.
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Mujkanovic, Elma. "Gorgon motifs on Archaic Greek coins." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-418134.
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The Gorgon is a creature described as terrible in ancient literature. It was depicted with glaring eyes, tusks and a hanging tongue and was a part of Greek antiquity from Archaic to Roman Period. The Gorgon motif has frequently been adorned on different materials. The reason as to why such a creature was depicted has been a subject of interest in earlier studies. The Gorgon motif has been elaborately studied in combination with buildings, armours and vases. A gap of knowledge that is still to be filled is a deeper examination of the Gorgon motifs on coins, which is the inspiration for this study in which the main aim is to approach an understanding of what function the Gorgon motif could have had on Archaic Greek coins. The study is based on a collection of 42 Archaic coins from Athens and Neapolis in Macedon. Through Panofsky's theory of iconography the material is analyzed and discussed via a series of sub-questions; ‘Did the Gorgon motifs differ depending on the location?’, ‘What combination of features appear on the coins?’, ‘To what extent was the Gorgon myth linked to the locations that used the motif and what other myths were used on coins during the same period? ’, ‘Is there a link between the use of Gorgon motifs on coins and on other material objects?’ The paper measures the possible explanations of the Gorgon motif with archaeological finds and ancient texts dealing with the Gorgon, many of which point to the fact that the Gorgon’s function generally served a purpose as an apotropaic symbol. Its function as a possible amulet is investigated using previous research that studies the symbolic significance of the Gorgon, as well as tracing its background and examination of the Gorgon myth to find possible connections with other mythical creatures.<br>Gorgonen är en varelse som beskrivs som fruktansvärd i den grekiska antikens litteratur. Den avbildas med stirrande ögon, betar och en hängande tunga. Gorgonen har varit en del av den grekiska antiken sedan dess början och har varit ett populärt motiv på olika material. Det har funnits stort intresse i tidigare studier kring anledningarna till att en sådan varelse valts att avbildas. Motivet har studerats omsorgsfullt när det har smyckat byggnader, rustningar och vaser. En lucka som inte har fyllts än inom ämnet är en djupare undersökning av gorgonmotiven på mynt, vilket även är ämnet för denna studie med syftet att närma sig en förståelse för de funktioner som Gorgonmotiven fyllde på mynt under arkaisk grekisk tid. Studien baseras på ett urval av 42 arkaiska mynt från Aten och Neapolis i Makedonien. Genom Panofskys trestegsmodell analyseras gorgonmotiv som framkommer på mynten och svarar på en rad viktiga underfrågor: Skiljer sig gorgonmotiv åt mellan platser Vilka kombinationer av gorgoner förekommer på mynten? I vilken utsträckning var gorgonmyten kopplad till de platser som använde motivet, vilka andra myter användes på mynten under samma period? Finns det ett samband mellan användningen av gorgonmotiv på mynt och på andra objekt? I uppsatsen bedöms möjliga förklaringar till gorgonmotivet med arkeologiska fynd och antika texter som behandlar gorgonen, varav många pekar mot att gorgonens funktion i allmänhet fyllde ett apotropeiskt syfte. Detta undersöks med hjälp av tidigare forskning av gorgonens symboliska betydelse samt kopplingen med andra mytiska varelser genom att spåra dess bakgrund och granskning av gorgonmyten.
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Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /." Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.
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Muñoz, Gordillo María Soledad. "El mito clásico como intertexto fundamental: cómo reciben los alumnos obras que subvierten temas propios de la mitología clásica." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/405713.
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El núcleo de estudio de esta tesis doctoral trata la perspectiva de la formación y de la recepción literaria desde el eje temático del mito de la cultura clásica y la presencia de este en la literatura postmoderna contemporánea. Teniendo en cuenta la problemática que implica la marginación de la literatura, la postergación de la literatura grecolatina y de los referentes culturales de la mitologia de tradición literaria en los planes curriculares, este estudio aporta un análisis de las particularidades de la recepción de producciones literarias actuales que retoman ese tipo de referencias clásicas, especialmente desde la estética postmoderna y la minificción, y desarrolla un análisis cualitativo de los factores que se ponen en juego en la recepción y apreciación de este tipo de producciones, en relación también con el dominio de estrategias y competencias implicadas en la interacción con las diferentes textualidades del hipertexto 2.0. Asi esta investigación pretende responder a cuestiones planteadas sobre cómo reciben los alumnos aquellos textos literarios que recrean temas míticos desde una perspectiva subversiva y postmoderna y cómo se produce esta recepción concretamente en el ámbito de la web 2.0.
El marco teórico, desarrollado como referente del estado de la cuestión, recoge los diferentes aspectos –estética de la recepción, formación literaria, intertextualidad, literacidad múltiple, hipertexto 2.0 y estética postmoderna- que permiten tratar con perspectivas y referentes conceptuales actuales el enfoque de la investigación, así como la valoración y el análisis cualitativo de los datos empíricos obtenidos.
La metodologia utilitzada, de base cualitativa con matices etnográficos, se apoya en la observación participante, documentos escritos (diarios de lectura e historias de vida) y entrevistas semiestructuradas, que junto con la etnografia virtual son los principales intrumentos de investigación empleados. La actividad de investigación se centra en la obtención de datos e informaciones sobre las necesidades de formación y las posibilidades metodológicas del hipertexto 2.0., empleado como recurso para la lectura, comprensión e interpretación, así como para la ampliación y construcción de conocimientos sobre el mito y su presencia en el sistema literario, por parte de los lectores en formación. Para ello, en el estudio de campo se recogen observaciones sobre la actividad y experiencias reales de los informantes, sus opiniones y creencias, de forma que las informaciones y valoraciones obtenidas han permitido aportar la sistematización de categorías y nuevos conocimientos de especial interés para la innovación en el ámbito educativo, didáctico y de la formación literaria respecto a la recepción significativa de la temática del mito en sus diversas reelaboraciones contemporáneas y posmodernas a través de nuevas textualidades. A su vez, la actividad de investigación ha incorporado recursos tecnológicos para ponderar las capacidades de interacción, recepción y aprendizaje cooperativo de los informantes y sus diversos modos de interacción en relación con este tipo de textos.
Los resultados del estudio han permitido demostrar la persistente y esencial relevancia del conocimiento de los referentes mitológicos para una adecuada y profunda interpretación de este tipo de muestras literarias así como las posibilidades que ofrece el entorno hipertextual 2.0 para la innovación y mejora de la recepción y de la apreciación estética de las mismas en el marco educativo.
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Ginard, Puigserver Maria. "BIOI. Tradicions biogràfiques dels poetes mítics grecs." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/314387.
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La construcció de les tradicions biogràfiques dels poetes mítics grecs va començar a gestar-se des de les primeres manifestacions literàries gregues i es va prolongar durant segles. Al llarg d’aquest període, aquestes figures van ser adoptades amb finalitats diverses i van encaixar en els usos i les necessitats individuals o col·lectius d’autors literaris, grups de culte o interessos polítics. A més a més, la construcció biogràfica d’aquests poetes comparteix processos i mecanismes de caracterització similars als que van fer servir les tradicions dels poetes històrics i d’altres operadors culturals com els filòsofs. Així doncs, la tesi analitza els motius biogràfics principals que s’incorporaren a les figures dels poetes mítics, per blocs temàtics, i el procés com es generaren i s’aprofitaren els t pics i els motius biogràfics en els poetes considerats sovint iniciadors de la poesia grega. Les anàlisis d’aquesta recerca s’organitzen principalment al voltant de figures com Tàmiris, Orfeu, Museu, Eumolp, Epimènides, Linos, Olè, Filammó i Amfíon, entre d’altres, i s’estructuren seguint uns eixos temàtics com són els orígens (genealogia i pàtria), les relacions de magisteri i d’iniciació i altres motius típics de la biografia heroica (el viatge, els enfrontaments poètics i amb el poder, les invencions, la institució de cultes, la mort i la integració en la condició heroica).
L’estudi dels motius biogràfics ha comportat la identificació d’una funció d’equivalència entre alguns d’aquests motius i s’hi ha detectat també una voluntat de jerarquització i competència, molt lligada al context cultual en què molts d’aquests poetes tenien presència. De manera similar, els biografemes han contribuït a assignar als poetes analitzats una funció instauradora per a la tradició literària i religiosa que els prenia com a referent, com a conseqüència de la relació constant i privilegiada amb la divinitat.<br>The development of the biographical traditions of the Greek mythical poets started with the first Greek literary works and it lasted for centuries. Throughout this period these figures were adapted for different uses and they suited literary, cultic or political interests either particularly or collectively. Furthermore, the shaping of the traditions of these poets, generally considered previous to Homer, has similarities with the historical poets, philosophers, sages and others. So, the thesis analyses the main sets of biographical formulaic themes and the process in which these formulaic motifs were elaborated and reshaped. The poets studied are Thamyris, Orpheus, Musaeus, Eumolpus, Linus, Epimenides, Olen, Philammon and Amphion among others, and the topics are their genealogy and origin, poetic initiation and other traditional topics of the heroic biography (teacher-pupil relationship, travel, song contests, quarrel with authorities, inventions, establishment of new cults, death, heroization).
The study of these biographical traditions has led to identify the equivalence among some formulaic themes and the intention to set up a hierarchy, tied to cultic context where these poets were used. Similarly, the biographemes contributed to assign them an authoritative role for the literary and religious tradition which took them as a referent, thanks to the constant and privileged relationship with deities.
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Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
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This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
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Mineau, Marie-Elaine. "Rôle des mythèmes dans la lecture de trois nouveaux romans." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33306.
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Alain Robbe-Grillet's Les Gommes, Michel Butor's L'Emploi du temps as well as Claude Simon's La Bataille de Pharsale are all New Novels in which Greek and Latin "mythemes" play various roles in the reception of the text by its reader. These roles represent our object of study. As a result of the possibilities and, more specifically, the many difficulties involved in reconstructing the original mythological plot, the reader realizes that the mythemes form a sort of "secondary plot" which both reflects the "first plot" (the novel's narrative) and determines its complexity. In this way, the mythemes guarantee a certain balance in the reader's level of understanding. However, they still bring out important problems: for example, they contribute to the redefining of certain familiar classical concepts and to the production of manifold interpretative choices. It follows that the mythemes are instrumental in making the reader the privileged spectator of the reconstruction of the horizon of expectations.
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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.
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Schmitzer, Ulrich. "Zeitgeschichte in Ovids "Metamorphosen" Mythologische Dichtung unter politischem Anspruch /." Stuttgart : B. G. Teubner, 1990. http://catalogue.bnf.fr/ark:/12148/cb35488106p.
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Takimoto, Miwa. "Représenter l’espace habité par les dieux ? La Méditerranée de la mosaïque aux Îles d’Ammaedara (Haïdra, Tunisie)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040006.
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Que cherchent à représenter et à percevoir les Romains, lorsqu’ils décrivent un parcours topographique ou géographique dans le cadre de l’art figuré ? Comment construisent-ils mentalement les déplacements géographiques réels ou imaginaires ? Comment se construit la carte mentale entre l’image et le récit ? La « mosaïque aux Îles » d’Haïdra est un parfait exemple qui nous permet de réfléchir sur ces questions. Elle a été découverte en 1995 sur le sol d’une pièce d’un grand édifice dans le quartier suburbain de la cité antique d’Ammaedara en Afrique proconsulaire. Attribuée à la fin du IIIe ou au début du IVe siècle, cette mosaïque offre la vue d’un espace insulaire avec une série de quinze îles et villes de la Méditerranée orientale et de la Sicile dont douze sont désignées par une légende en latin : Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos et Scyros. La représentation des îles et des villes ainsi que la manière de restituer leur succession ne correspondent pas à la réalité géographique, alors que ces zones ont été décrites par les auteurs anciens. Ce travail se propose d’étudier la structuration spatiale, la coordination et le montage des éléments réalistes et imaginaires des lieux dans l’art romain, à partir de cette mosaïque. Il s’agira d’analyser les différentes images qui rendent compte de la dualité à la frontière entre la notion de paysage figuré et celle de la cartographie ; il s’agira également de recueillir dans les sources écrites les descriptions spatiales de la géographie physique et littéraire évoquant un paysage culturel<br>What do the Romans aim to represent and perceive when they describe a topographical or geographical trajectory within the framework of figurative art? How do they mentally build real or imagined geographical journeys? How is the mental path created from the image and the narrative? The "Mosaïque aux Îles" of Haidra is a perfect example that allows us to think about these issues. It was discovered in 1995 on the floor of a room in a large building in the suburban district of the ancient city of Ammaedara in Africa Proconsularis. Attributed to the end of the 3rd or the beginning of the 4th century, this mosaic offers the view of an insular space with a series of fifteen islands and cities of the eastern Mediterranean and Sicily, twelve of which are designated by an inscription in Latin: Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos, and Scyros. Therepresentation of islands and cities as well as the manner of reconstructing their succession do not correspond to the geographical reality, although ancient authors have described these areas. This work aims to study the spatial structuring, the coordination, and the assembly of the realistic and imaginary elements of places in Roman art, on the basis of this mosaic. The different images that represent the duality at the boundary between the notion of landscape painting and that of cartography have been analysed. Also, the spatial descriptions of the physical and literary geography evoking a cultural landscape have been collected in the written sources
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Dorsten, Sara E. "Priest of Wisdom: A Historical Novel Studying Ancient Greek Culture through Creative Writing." Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1430788202.
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Guardo, Siino Lina 1936. "Il mito classico nell'opera di Cesare Pavese." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39481.
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In the first chapter we intend to present, although in a restricted sense, some of the positions of the most recent critics, which will allow us to determine the meaning of our Author.<br>The next chapter is mainly dedicated to giving information which establishes the relationships between the most important mythological traditions and classical works. Such information will serve to find and establish the components of the Pavesian culture.<br>Cesare Pavese was born in Piemonte, Italy, in 1908, he lived in the historical period during which fascism and nazism triumphed and through all the horrors of the immediate after-war. Pavese's incapacity to be concretely active in the political field brings him to relive, in his writings, the ancient Italian cult of the Evocativo. This technique of his is a hermetic method of going through with his ethical social mission. To evoke a god in a moment of national crisis is a traditionally Italian ritual; while the invocation to a God or a Muse is also part of the literary tradition. The classicism of Pavese is now recognized by different critics. Their basis for this decision is his work Dialoghi con Leuco. However, our attention is more focused on the romance Il diavolo sulle colline which occupies the central part of the trilogy La Bella Estate.<br>This text Il diavolo sulle colline contains many meanings which requires different approaches--such as the cultural precedents of other authors, and even those of Pavese himself--to decipher. The many messages in this work can all be traced back to the concept of death and rebirth. Pavese uses themes which are beloved to Dante and the humanists, who were themselves inspired by the great Greek and Latin authors.<br>And thus, we are left wondering whether Il diavolo sulle colline was conceived according to the norms of the classical tragedy, which was based on the celebrations in honor of the god Dionisus (the Hellenic demon venerated by the Latins under the name of Bacchus, and affiliated with an old Italian divinity whose symbolic name was Liber Pater). Poli, a dominating figure in Il diavolo sulle colline could be the double of this god. Our discussion will therefore be founded on the testimony of mythographers.<br>From a methodological point of view, our analysis will not take into account the chronological sequences, but rather the themes which imply the operation of segmenting the text.
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Servadei, Cristina. "La figura di Theseus nella ceramica attica : iconografia e iconologia del mito nell'Atene arcaica e classica /." Bologna : Ante Quem, 2005. http://catalogue.bnf.fr/ark:/12148/cb40201611c.
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Texte remanié de: Tesi di dottorato--Archeologia--Padova--Università degli studi, 1997.<br>La p. de titre porte en plus : "Alma mater studiorum, Università di Bologna, Dipartimento di archeologia" Bibliogr. p. 217-234.
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
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Sailors, Cara Leigh. "The Function of Mythology and Religion in Ancient Greek Society." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2110.
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The ancient Greeks are prime subjects of study for those wishing to understand the roles that religion and mythology play in a society and how the two interact with each other. This paper covers what I feel after my study of Greek mythology and religion are the eight functions of mythology: history, education, explanation - both of the natural world and the culture of each society, legality, genesis, what happens after death, and entertainment; as well as the two function of religion: civic and spiritual. In the first chapter, in order to show each of the mythological functions, I summarize and explain a myth that falls primarily into each category. The second chapter discusses and illustrates Civic Religion and the third examines the three major Mystery Religions. The goal is to offer a basic understand of some of the myths, religious beliefs, and cult practices of the ancient Greeks.
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Darowski, John J. "Mythic Symbols of Batman." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1226.
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Batman has become a fixture in the popular consciousness of America. Since his first publication in Detective Comics #27 in 1939, he has never ceased publication, appearing in multiple titles every month as well as successfully transitioning into other media such as film and television. A focused analysis of the character will reveal that Batman has achieved and maintained this cultural resonance for almost seventy years by virtue of attaining the status of a postmodern American mythology. In both theme and function, Batman has several direct connections to ancient mythology and has adapted that form into a distinctly American archetype. And as a popular cultural symbol, he has shown remarkable malleability to reflect the attitudes of his contemporary culture. An examination of Batman's enduring and changing characteristics will reveal insights into American values, culture and history during the twentieth and into the twenty-first centuries.
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Morais, Guilherme Augusto Louzada Ferreira de. "A representação do modelo de herói clássico na personagem feminina Katniss Everdeen, de "Jogos vorazes" /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152788.
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Previous issue date: 2018-02-06<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série.<br>The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series.<br>Proc. 2015/23592-6
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Hansson, Nora. "Klassiskt och nordiskt : fornnordiska motiv i bildkonsten 1775-1855." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403548.
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The subject of this master’s thesis is depictions of Old Norse mythology and related motifs in the visual arts during the period 1775–1855. The main question of this research is how the motifs were visualized and how the depictions are related to the classical tradition. Three artworks are objects of detailed study: Johann Heinrich Füssli’s painting Thor Battering the Midgaard serpent (1790), Christoffer Wilhelm Eckersberg’s The death of Balder (1817) and Nils Jacob Blommér’s painting Näcken and the daughters of Ägir (1850). The paintings are compared with literary sources and analyzed in relation to classicism as well as ideas about history and the Old Norse. It is argued that symbols, themes and compositions from the classical tradition, such as the heroic nude, were used by artists to visualize motifs from Old Norse mythology. It is also argued that the depictions, which by previous scholars have been considered primarily classical, are in fact characterized by a resistance against likeness with the Olympic gods and antique costume.
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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /." Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.
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Rosett, Isabelle George. "Voices of Ancient Women: Stories and Essays on Persephone and Medusa." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1008.
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This thesis combines art historical analysis and creative writing in a collection of essays and short stories centered on the myths of Persephone and Medusa. Ancient art, text, and context is considered in the essays, while the stories approach these subjects on a more contemporary and personal level.
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Bertacchi, Maria Pia. "Il mito delle Danaidi, dall’età classica alla paremiografia." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30005.
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J'ai complété l'étude du mythe des Danaïdes que j'ai effectuée au cours de mon premier Doctorat à l'Université d'Urbino. Mon travail a consisté dans l'analyse de ce mythe de l'époque archaïque à l'époque classique, traité plus ou moins longuement dans le Catalogue des femmes d'Hésiode, le poème argien Danais, la IXème Pythique et la Xème Néméenne de Pindare. Les Suppliantes d'Eschyle et le dithyrambe de Melanippide. Les Danaïdes sont des figures importantes, qui d'une part sont en relation avec l'utilisation rationnelle des eaux par le creusement de puits, d'autre part sont impliquées dans une histoire cruelle et sanglante. Les Danaïdes se sont échappées de leur patrie, l'Egypte, pour éviter un mariage avec leurs cousins, les fils d'Egyptos. Pourquoi les fuient-elles ? Une partie des critiques prétend qu'elles fuient l'inceste ; d'autres considèrent qu'elles ont horreur des Egyptiens parce qu'ils représentent la violence et la démesure ; un troisième groupe affirme qu'elles éprouvent de l'aversion pour tout mariage, quel qu'il soit. J'ai cherché à montrer que les Danaïdes, si l'on s'en tient aux sources archaïques ont fui les Egyptiens pour un motif dynastique, et que c'est Eschyle qui a mis l'accent sur le fait que le mariage doit être un acte fondé sur l'amour et un accord mutuel. Quoi qu'il en soit, quarante-huit Danaïdes ont tué leurs maris lors de la première nuit de noces. Seule Hypermnestre a épargné son époux Lyncée parce qu'elle est tombée amoureuse de lui. Selon certains auteurs, ses soeurs ont été purifiées par Athéna et Hermès et se sont remariées (le récit de leur second mariage se trouve dans la IXème Pythienne de Pindare et dans le Periegesis de Pausanias. De la seconde moitié du Vème siècle jusqu'à la première moitié du IVème siècle, les témoignages relatifs aux Danaïdes sont nombreux, à partir d'Aristophane, qui a écrit une comédie intitulée Danaïdes, à la suite d'une tragédie intitulée Lyncée, due à Théodecte, un auteur qui a vécu au IVème siècle av. J.-C. De ces deux textes nous n'avons que des fragments : quelques vers pour Aristophane, un résumé pour Théodecte. Beaucoup d'auteurs tragiques et comiques ont écrit des pièces intitulées Danaïdes : Callias, Timoclès, Diphilius, Chaerémon, mais nous n'en avons gardé que les titres ou quelques vers. Par le biais de l'analyse philologique mon travail a mis en évidence ce qui reste de ce patrimoine presque perdu. L'aspect le plus connu du mythe des Danaïdes (la punition de verser indéfiniment de l'eau d'un récipient dans un pithos percé), est presque inconnu dans la littérature classique jusqu'à la fin du deuxième siècle av. J.-C. : on en trouve la première mention littéraire dans le dialogue pseudo platonicien intitulé Axiochus. Cet aspect est bien mis en évidence dans le genre de la parémiographie : les héroïnes qui se trouvent aux Enfers, versent l'eau dans une jarre percée avec une petite passoire, ce qui est une façon de montrer l'inutilité de leur travail. Comment se sont-elles retrouvées aux Enfers ? Quel texte littéraire grec tragique ou comique a raconté cette histoire ? Aucun témoignage n'a subsisté, mais nous savons que souvent les proverbes grecs ont une dérivation littéraire. En conséquence, il est possible qu'une pièce ait été la source de cette histoire. J'ai envisagé de rechercher si tel ou tel proverbe a une origine populaire ou littéraire. Il existe en effet une autre série des proverbes liés à ce mythe des Danaïdes, à propos du triste sort des Egyptiens, proverbes dont l'antiquité est attestée. Mon travail a effectué un passage en revue et une analyse philologique de chacune des sources antiques qui ont traité des Danaïdes. D'autre part, j'ai souligné les modalités de formation du mythe et étudié sa réception à travers les différentes époques de la littérature et de la civilisation des Grecs. En résumé, pour la communauté d'Argos dans l'époque archaïque les Danaïdes furent des héroïnes cultuelles, liées à l'utilisation des eaux<br>The purpose of my research is the myth of Danaïdes, women in the first wedding night have killed their husbands, son of Aegyptus. Why Danaïdes are murderers?According to the Argive mythology Danaïdes have killed their husbands for dynastic reasons, but Aeschylus Suppliant’s show that they have killed to escape the excesses and violence of their suitors. I have already studied this myth to race my first doctorate at the University of Urbino. Gold, with the University of Trento and Lille I want to pursue, based on testimony Aristophane, who wrote a comedy entitled Danaïdes to follow the tragedy Theodectes’s Lyncée, author lived in the fourth century BC. evidence they are fragmentary: we have only a few lines to Aristophane, the only summary for Theodectes. All this shows the great vitality of this myth, but the direct tradition makes us get too little! Other times, the Danaids became the subject of a proverb related to water. This aspect is very keen in the kind of parémiographie where the heroines are in hell: they're going to spill the water in a jar pierced with a small strainer, to demonstrate the futility of their travail. How the heroines are they finished in hell? Greek literary text which told this story? No evidence in respect of, but we know that the Greek proverbs often have a literary diversion. Τherefore is it possible that she was either lost the source for this story room? Μy research should investigate whether such a popular proverb or literary origin. We will say that there is another series of proverbs related to this myth Danaïdes, especially that tell the plight of Egyptian and are very ancient. In the first half of the fifth century they already have their canonical formulation, demonstration of their antiquity. Αἰγύπτου γάμος and Λέρνη κακῶν are, with respect, meaningful: the Greek, in utter such proverbs, want to denote evils and misfortunes endless
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Szabo, Bobbie. "Love is a Cunning Weaver: Myths, Sexuality, and the Modern World." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1493247491671522.
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Lagrou, Sarah. "La création poétique dans le théâtre grec classique ou comment surprendre toujours dans un cadre traditionnel : l’exemple du mythe d’Œdipe dans la tragédie grecque." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30012.
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Cette thèse de doctorat vise, à partir de l'exemple que constitue le traitement du mythe d'Œdipe par les trois dramaturges que sont Eschyle, Sophocle et Euripide, à comprendre comment les tragiques grecs, qui traitaient toujours des mêmes histoires, et suscitaient pourtant l'intérêt du public, ont su renouveler la création théâtrale, en parvenant à ne pas faire les mêmes pièces à partir des mêmes légendes. Certes, la matière mythique n'était pas figée en soi ; toutefois, comme la tragédie était un genre très codifié dans sa structure et relativement limité en termes d’effets visuels, c'est surtout sur le texte même que l'auteur pouvait intervenir, au prix d'un travail toujours renouvelé sur sa langue.C'est donc au texte même des tragédies que cette étude s'attache, texte qui est abordé selon une triple perspective, à la fois herméneutique, philologique et comparatiste, ce qui permet de comprendre non seulement les enjeux profonds de chacun d'eux, mais aussi les variations sur le mythe et les effets ainsi créés. Le corpus, restreint mais raisonnable (Les Sept contre Thèbes d'Eschyle, l'Œdipe Roi, l'Antigone et l'Œdipe à Colone de Sophocle, et les Phéniciennes d'Euripide), est analysé avec rigueur et aussi peu d'a priori que possible. Cette étude permet de mieux comprendre le fonctionnement de la tragédie, ainsi que la façon dont une poétique se renouvelait sans cesse et évoluait de la sorte, en explorant les possibilités que lui offrait sa langue et en travaillant sur les représentations et les contenus traditionnels dont le poète tragique héritait. Ce projet vise ainsi à mieux saisir les ressorts de la création poétique dans un contexte culturel qui permet d’appréhender au mieux les limites entre lesquelles elle est mise en œuvre ; il permettra également d'approfondir la compréhension d'une culture qui prenait plaisir à aller voir des pièces dont elle connaissait déjà la fin<br>The aim of this PhD thesis, based on Aeschylus’, Sophocles’ and Euripides’ treatments of the Oedipus myth, is to understand how Greek tragic playwrights – who aroused the public interest while always dealing with the same stories – managed to reinvent theatre and write new plays out of the same myths. Admittedly, mythical material was not fixed, yet, tragedy was a genre which structure was highly codified, and quite limited in terms of visual effects. Thus, it was mainly within the text itself that authors could intervene by way of an ever-repeated work on their own language. Therefore, it is the texts of tragedies themselves which are the subject of this study, and which will be explored from three different perspectives; hermeneutic, philological and comparative. This not only allows for an understanding of the deeper issues each text tackles, but also of the variations on the myth and the effects they create. The corpus (Aeschylus' Seven against Thebes, Sophocles' Antigone, Œdipus Rex, Œdipus at Colonus, Euripides' Phoenician Women) – limited yet reasonable – will be analysed rigorously and with as little a priori as possible. What is proposed in this study is a better understanding of how the mechanics of tragedy worked, as well as of how part of a poetics could evolve through perpetual renewal, as tragic poets explored the possibilities of their language, worked on representations and traditional materials they had inherited. The aim of this study is to better grasp the means of poetic creation in a given cultural context so as to gain the best possible understanding of the limits within which it took place. It also allows for a deepened understanding of a culture in which people still enjoyed plays while already knowing how they would end
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Burchfield, Amy Elizabeth. "Going the Distance: Themes of the Hero in Disney's Hercules." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/4291.
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Disney's Hercules is an apt modern reception of the ancient mythology of Herakles, acknowledging ancient and modern sources surrounding three types of classical hero: the archetypal hero, influenced by the ideas of Joseph Campbell; the Pan-Hellenic hero, distilled from ancient Greek exempla of heroism from epic and other genres of ancient literature; and the tragic hero, inspired by the heroic criteria presented in Aristotle's Poetics. By adapting these heroic types from their traditional ancient source myths, Disney's Hercules produces a new, contemporary definition of heroism—one informed by modern, Western family values. This adaptation renews the power of the myth of Herakles for a modern era, whose image and characteristics have been changed and adapted since ancient times to suit each receiving culture's conception of true heroism.
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Patierno, Carolina. "Miti allo specchio : Ero e Leandro, Piramo e Tisbe : dal testo alla scena, dalle fonti classiche alle riscritture del Seicento italiano." Thesis, Sorbonne université, 2021. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2021SORUL152.pdf.
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Le présent travail de recherche porte sur la réception des fabulae de Héro et Léandre et de Pyrame et Thisbé dans la littérature italienne du XVIIe siècle, en particulier dans quatre textes différents par genre, style et origine géographique : Gli amori infelici di Leandro ed Ero (1618), l'idylle de Giovanni Capponi, Hero et Leandro (1630) et La Tisbe, respectivement la «Favola maritima » et la «lieta favola» de Francesco Bracciolini, et Il Leandro (1679), le drame musical de Badovero-Pistocchi. La décision de mettre les deux mythes en relation étroite l'un avec l'autre se fonde sur certaines considérations exposées dans des études historico-philologiques faisant autorité sur l'origine du roman et de la nouvelle grecque (Rodhe 1876, Lavagnini 1921, Cataudella 1957) où les deux fabulae sont citées comme des exemples de proto-romans ou de proto-nouvelles en raison de la présence récurrente de topoi propres au roman hellénique. À partir d'une analyse thématique et rhétorique du « patrimoine génétique commun » aux deux mythes ou, mieux, du « noyau hellénique-romanesque » appartenant aux versions classiques de référence (Mus.; Ov., Her.18-19, Ov. Met., IV, 55-166), le parcours d’analyse des réécritures modernes des oeuvres à l’étude suit trois axes principaux : la vérification de l’idée de correspondance entre les deux mythes, déjà présente dans les versions anciennes, médiévales et de la Renaissance, ainsi que l’identification de leurs modalités d’expression dans les textes du XVIIe siècle ; l’analyse des processus de réécriture du mythe au sein des nouvelles métamorphoses baroques et des nouveaux hybrides scéniques, tant en référence à l'interaction entre le «noyau hellénique-romanesque», l'héritage tragique et les influences du genre idyllique et pastoral, qu’en ce qui concerne la relation entre le romanesque hellénique et le romanesque baroque ; la focalisation sur l'aspect herméneutique permettant de comprendre le sens nouveau assumé par le mythe pour les deux couples d'amants : clementia ou sententia ?<br>The present research focuses on the reception of the fabulæ of Hero and Leander and of Pyramus and Thisbe in Seventeenth-century Italian literature, in particular in four texts differing by genre, style and geographical origin: the idyll of Giovanni Capponi, Gli amori infelici di Ero e Leandro (1618); the ‘favola maritima’ Hero e Leandro (1630) and the ‘lieta favola’ La Tisbe by Francesco Bracciolini; and the ‘dramma per musica’ Il Leandro by Badovero-Pistocchi (1679). The decision to place the two myths in close relationship with each other was inspired by some remarks found in authoritative historical-philological studies on the origin of the ancient Greek novel and the Greek novella (Rodhe 1876, Lavagnini 1921, Cataudella 1957) where the two fabulæ are cited as examples of proto-novels for the insistent recurrence in them of topoi proper to the Hellenic novel. Starting from an accurate thematic-rhetorical analysis of the 'common heritage', or rather, of the 'Hellenic-romance nucleus' belonging to the classic versions of reference (Mus.; Ov., Her. 18-19; Ov. Met., IV, 55-166), the course of the research in modern rewritings in question follows three main coordinates: verification of the idea of correspondence between the two myths, already found in the ancient, medieval and Renaissance versions, and identification of the ways in which it is expressed in seventeenth-century texts; analysis of the processes of rewriting the myth within the new Baroque metamorphoses and the new stage hybrids, both in reference to the interaction between the 'Hellenic-romance nucleus', tragic inheritance and influences of the idyllic and pastoral genre, as well as in regard to the relationship between Hellenic and Baroque romance; focus on the hermeneutic aspect within which to read the new meaning assumed by the myth: clementia or sententia for the two couples of lovers?
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Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.
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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.
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Woods, Holly Irene. "Amazons of the Ancient World: Women in Greek and Roman Societies as Seen in the Amazon Myth." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1716.
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The myth of the Amazons began in Ancient Greece. Renditions of the myth were found in art and literature of the Greeks and Romans in the ancient world. The image of the Amazons changed with the culture and ideology that discussed them. The Amazon myth reflected Greek and Roman views of women. Through looking closely at the three stages of the myth of the Amazons one can determine the myth strengthens the image of women that was held by men of the ancient world. The Amazons were connected with the heroes Heracles, Theseus, and Alexander the Great. Individual Amazons such as Antiope, Penthesilea, and Camilla were also dominant in the mythology of the Amazons. By completing a literary analysis of the myths of the Amazons beginning in the eighth century B.C. and through the fourth century A.D. one is able to see what was expected and deemed acceptable of women.