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Journal articles on the topic 'Orphée'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Veres, Ottilia. "The Story of Orpheus and Eurydice in Coetzee and Rilke." Acta Universitatis Sapientiae, Philologica 8, no. 1 (2016): 41–48. http://dx.doi.org/10.1515/ausp-2016-0003.

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Abstract J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time

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2

Puchner, Walter. "Ο Ορφέας στη νεοελληνική δραματουργία: Γεώργιος Σακελλάριος - Άγγελος Σικελιανός Γιώργος Σκούρτης". Σύγκριση 11 (31 січня 2017): 46. http://dx.doi.org/10.12681/comparison.10768.

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The paper gives a short comparison of three dramatic versions of the Orpheus-myth in Modern Greek drama. Among the mythological themes dramatized in Modern Greece the most frequent is Troia cycle, the Atrides, the Argonautic cycle, heroes like Prometheus, Heracles, Theseus, Zeus etc. Orpheus is quite rare. The first analysis concerns the Greek translation of «Orphée et Euridice», the second reformation opera of Christoph Willibald Gluck, concretely the French version of Pierre Louis Moline (1774 in Paris), which is edited in Greek in Vienna 1796, and highlights the context of this translation.

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3

Riesz, János. "« Orphée Noir » « Schwarzer Orpheus » « Black Orpheus » : Quand les marges se mettent en marche vers un centre commun." Revue de littérature comparée 314, no. 2 (2005): 161. http://dx.doi.org/10.3917/rlc.314.0161.

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4

Willson, Flora. "Classic staging: Pauline Viardot and the 1859 Orphée revival." Cambridge Opera Journal 22, no. 3 (2010): 301–26. http://dx.doi.org/10.1017/s0954586711000267.

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AbstractThe 1859 revival of Gluck's Orphée, reworked for the occasion by Berlioz, was one of a series of operatic résurrections staged at the Théâtre-Lyrique in Paris during the Second Empire. Starring Pauline Viardot (1821–1910) in the title role, it was the first major revival of Gluck's opera since the 1820s and attracted considerable attention in the press and elsewhere. Critics and others were fascinated by Viardot's dramatic presence on stage, producing images (both in pictures and words) of her Orpheus that are often striking in their awareness of time past. Indeed, ambivalence about th

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5

Desanges, J. "Orpheis." Encyclopédie berbère, no. 35 (June 1, 2013): 5855. http://dx.doi.org/10.4000/encyclopedieberbere.2831.

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6

Pereira, Edimilson de Almeida, and Steven F. White. "Orpheus." Callaloo 24, no. 4 (2001): 1142–45. http://dx.doi.org/10.1353/cal.2001.0294.

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7

SVOBODA, TERESE. "ORPHEUS." Yale Review 102, no. 2 (2014): 26. http://dx.doi.org/10.1111/yrev.12131.

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8

SVOBODA, TERESE. "ORPHEUS." Yale Review 102, no. 2 (2014): 26. http://dx.doi.org/10.1353/tyr.2014.0066.

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9

Ridley, Hugh. "Orpheus Reborn Gottfried Benn's "Orpheus' Death"." Classics Ireland 3 (1996): 163. http://dx.doi.org/10.2307/25528297.

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10

WATSON, SARAH BURGES. "ORPHEUS' EROTIC MYSTERIES: PLATO, PEDERASTY, AND THE ZAGREUS MYTH IN PHANOCLES F 1." Bulletin of the Institute of Classical Studies 57, no. 2 (2014): 47–71. http://dx.doi.org/10.1111/j.2041-5370.2014.00072.x.

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Abstract In his Ἔρωτɛς ἢ Kαλoί, Phanocles tells how Orpheus was decapitated by Thracian women because he ‘revealed’ homoerotic love and rejected women. Iconographic and literary evidence suggests that Orpheus is associated with homoeroticism and misogyny from the Classical period. Phanocles' poem also exploits Orpheus' ambivalent status: as founder of the Eleusinian mysteries, his authority was immense. But he was also seen as the guru of a countercultural fringe, who preached reincarnation and vegetarianism. The fact that Phanocles presents Orpheus' erotic predilections as mysteries points to

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11

Ager, Britta. "Song Sweeter than Orpheus’." Mnemosyne 68, no. 1 (2015): 11–27. http://dx.doi.org/10.1163/1568525x-12301496.

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In Euripides’ Medea, Jason expresses a preference for fame over riches or musical talent such as that which Orpheus possesses. Orpheus was well-known for the supernaturally persuasive qualities of his music, and as the play makes clear, Jason’s rejection of Orpheus’ talents is not purely rhetorical—he lacks the persuasive skill of Orpheus, skill which he needs to reconcile Medea to his new marriage. Medea is persistently compared to things which Orpheus is able to influence through his song, such as rocks, lions, and bulls, highlighting Jason’s failure to persuade where the mythical singer suc

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12

Ceci, Francesca, та Aleksandra Krauze-Kołodziej. "Χαῖρε Ὀρφεῦ! Perception of a Mystery: The Images of the Myth of Orpheus on Ancient Coins". Acta Antiqua Academiae Scientiarum Hungaricae 58, № 1-4 (2018): 721–40. http://dx.doi.org/10.1556/068.2018.58.1-4.41.

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Summary The myth of Orpheus experienced a great popularity in ancient world, covering the path from a mythical legend to a complex and sophisticated mystic cult. There were many various features of Orpheus that characterized the Thracian singer, being the result of his different adventures: from the quest of the Argonauts and the pathetic story of love of Eurydice, to his journey to the underworld. The myth of Orpheus was highly represented in iconography. The most frequent representations are those showing Orpheus as a singer surrounded by the beasts and, in smaller amount, in the scene repre

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13

Martínez Zuccardi, Soledad. "Novelizing Tucumán (Elvira Orphée, Hugo Foguet)." Anclajes 24, no. 3 (2020): 205–22. http://dx.doi.org/10.19137/anclajes-2020-24313.

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14

Stoehr-Monjou, Annick. "Structure allégorique de Romulea 1: La comparaison Orphée-Felicianus chez Dracontius." Vigiliae Christianae 59, no. 2 (2005): 187–203. http://dx.doi.org/10.1163/1570072054068357.

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AbstractIn all his poems, the Carthaginian Dracontius presents Orpheus only once, in a preface dedicated to his magister Felicianus (Romulea1) and allegorically constructed: as Orpheus charmed animals (vv. 1-11), Felicianus gathers Vandals and Romans (vv. 12-16). Each element of Orpheus's evocation prepares the allegorical – political, religious and cultural – reading of the second part: first, Orpheus charming wild and domestic beasts announces Felicianus who civilized the barbarian Vandals and brought a new Golden Age in Carthage. Secondly, Felicianus, as an Orpheus between Christ and David,

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15

Shin, Hye-seung. "Counter-Narrative in Orpheus Myth, Jacques Offenbach's Orphée aux enfers - Focusing on relevance to France of the Second Empire." Journal of Society for Music and Korea 58 (October 15, 2019): 115–51. http://dx.doi.org/10.35441/mnk.57.2.4.115.

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16

Shin, Hye-seung. "Counter-Narrative in Orpheus Myth, Jacques Offenbach's Orphée aux enfers - Focusing on relevance to France of the Second Empire." Journal of Society for Music and Korea 58 (October 15, 2019): 115–51. http://dx.doi.org/10.35441/mnk.58.2.4.115.

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17

Petrina, A. ""Aristeus Pastor Adamans": The Human Setting in Henryson's Orpheus and Eurydice and its Kinship with Poliziano's Fabula di Orpheo." Forum for Modern Language Studies 38, no. 4 (2002): 382–95. http://dx.doi.org/10.1093/fmls/38.4.382.

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18

Martin, Richard P. "Rhapsodizing Orpheus." Kernos, no. 14 (January 1, 2001): 23–33. http://dx.doi.org/10.4000/kernos.764.

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19

Bensignor, François. "Orpheus XXI." Hommes & migrations, no. 1323 (October 1, 2018): 200–204. http://dx.doi.org/10.4000/hommesmigrations.7830.

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20

Rounds, Anne Lovering. "Orpheus redux." New Writing 11, no. 1 (2013): 47. http://dx.doi.org/10.1080/14790726.2013.849745.

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21

Holland, Michael. "Barthes, Orpheus." Paragraph 11, no. 2 (1988): 143–74. http://dx.doi.org/10.3366/para.1988.0009.

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22

Rukeyser, Muriel, and Romain Candusso. "Orphée." Po&sie N°172-173, no. 2 (2020): 115. http://dx.doi.org/10.3917/poesi.172.0115.

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23

Boynton, Susan. "The sources and significance of the Orpheus myth inMusica Enchiriadisand Regino of Prüm'sEpistola de harmonica institutione." Early Music History 18 (October 1999): 47–74. http://dx.doi.org/10.1017/s0261127900001832.

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Throughout history, the myth of Orpheus and Eurydice has taken on the connotations of its specific cultural contexts. Interpreters of the myth have invested the figure of Orpheus with symbolism to suit their own rhetorical purposes. Each retelling has emphasised certain elements of the myth to make it conform to the intended meaning. In all accounts of the story, Orpheus is a musician who charms animals and inanimate objects with his song. In the fifth century B.C., the death of his wife, Eurydice, and his attempt to rescue her from the underworld became part of the mythographic tradition. Acc

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24

Hipolito, Jeffrey. "Owen Barfield’s Orpheus." Journal of Inklings Studies 5, no. 2 (2015): 113–22. http://dx.doi.org/10.3366/ink.2015.5.2.5.

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This essay examines Owen Barfield’s reworking of Virgil’s account of the Orpheus myth in the fourth Georgic. It finds that while Barfield retains Virgil’s nesting-doll form he dramatically shifts the thematic focus. In particular, where Virgil’s Stoicism compels him to see Orpheus’s romantic longing for Eurydice as a failure of character, Barfield’s rendering suggests that romantic love both a reflection of and step in the direction of the selfless love towards which each character wittingly or unwittingly strives.

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25

Freeman-Attwood, Jonathan. "The English Orpheus." Musical Times 133, no. 1796 (1992): 527. http://dx.doi.org/10.2307/1002723.

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26

Whittall, Arnold, Harrison Birtwistle, Alexander Goehr, Peter Maxwell Davies, Gerald Barry, and Thomas Ades. "Orpheus: And after." Musical Times 139, no. 1865 (1998): 55. http://dx.doi.org/10.2307/1003837.

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27

Lowe, Leah. "Orpheus X (review)." Theatre Journal 58, no. 4 (2006): 681–83. http://dx.doi.org/10.1353/tj.2007.0019.

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28

Sampson, Sam. "Orpheus at Whatipu." Iowa Review 37, no. 3 (2007): 147. http://dx.doi.org/10.17077/0021-065x.6329.

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29

Köves-zulauf, Thomas. "Orpheus és Eurydiké." Antik Tanulmányok 51, no. 1 (2007): 121–33. http://dx.doi.org/10.1556/anttan.51.2007.1.9.

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30

Wollenberg, S. "The 'German Orpheus'." Early Music 35, no. 2 (2007): 295–97. http://dx.doi.org/10.1093/em/cam025.

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31

Cantalupo, Charles. "Orpheus at Epiphany." Christianity & Literature 35, no. 1 (1985): 6–7. http://dx.doi.org/10.1177/014833318503500102.

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32

Cantalupo, Charles. "Orpheus in Summer." Christianity & Literature 35, no. 3 (1986): 38. http://dx.doi.org/10.1177/014833318603500316.

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33

Cantalupo, Charles. "Orpheus of Earth." Christianity & Literature 37, no. 4 (1988): 24. http://dx.doi.org/10.1177/014833318803700405.

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34

Cantalupo, Charles. "Orpheus at Epiphany." Christianity & Literature 50, no. 3 (2001): 441–42. http://dx.doi.org/10.1177/014833310105000314.

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35

Dawson, Terence. "The Orpheus complex." Journal of Analytical Psychology 45, no. 2 (2000): 245–66. http://dx.doi.org/10.1111/1465-5922.00154.

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36

Torgersen, Eric. "Orpheus on Translation." Translation Review 28, no. 1 (1988): 30–32. http://dx.doi.org/10.1080/07374836.1988.10523434.

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37

Freeman-Attwood, Jonathan. "The English Orpheus." Musical Times 131, no. 1769 (1990): 373. http://dx.doi.org/10.2307/965762.

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38

Christopoulos, Menelaos. "The spell of Orpheus [Orpheus and the orphic religious movement]." Mètis. Anthropologie des mondes grecs anciens 6, no. 1 (1991): 205–22. http://dx.doi.org/10.3406/metis.1991.969.

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39

Puskás, Dániel. "Orpheus in the Underground." Acta Universitatis Sapientiae, Philologica 7, no. 1 (2015): 45–54. http://dx.doi.org/10.1515/ausp-2015-0034.

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Abstract In my study I deal with descents to the underworld and hell in literature in the 20th century and in contemporary literature. I will focus on modem literary reinterpretations of the myth of Orpheus, starting with Rilke’s Orpheus. Eurydice. Hermes. In Seamus Heaney’s The Underground. in the Hungarian Istvan Baka’s Descending to the Underground of Moscow and in Czesław Miłosz’s Orpheus and Eurydice underworld appears as underground, similarly to the contemporary Hungarian János Térey’s play entitled Jeramiah. where underground will also be a metaphorical underworld which is populated wi

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40

Brunel, Pierre. "Orphée Moderne." Σύγκριση 11 (January 31, 2017): 10. http://dx.doi.org/10.12681/comparison.10761.

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Πιερ ΜΠΡΙΝΕΛ: Ο σύγχρονος Ορφέας. Η ανακοίνωση αυτή αποτελεί μία προσπάθεια σύνθεσης ορισμένων βασικών δεδομένων που καθορίζουν το μύθο του Ορφέα στη λογοτεχνία και που προέρχονται από την κοινωνία και την έντεχνη δημιουργία. Ύστερα από μία ιστορική αναδρομή στις πηγές του μύθου, επιχειρείται μια συγκριτική ανάγνωση που ενεργοποιεί το διακειμενικό δίκτυο και αναδεικνύει τις σταθερές του συγκεκριμένου μύθου σ έναν αριθμό λογοτεχνικών έργων.

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41

Alford, Robert, and Andras Szanto. "Orphée blessé." Actes de la recherche en sciences sociales 110, no. 5 (1995): 56–63. http://dx.doi.org/10.3917/arss.p1995.110n1.0056.

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42

Hunt, Edgar, Jean-Remy Julien, and Jean-Claude Klein. "Orphee Phrygien - Les musiques de la Revolution." Galpin Society Journal 43 (March 1990): 174. http://dx.doi.org/10.2307/842492.

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43

Rust, John. "THE VALIDATION OF THE ORPHEUS MINOR SCALES IN A WORKING POPULATION." Social Behavior and Personality: an international journal 26, no. 4 (1998): 399–406. http://dx.doi.org/10.2224/sbp.1998.26.4.399.

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Orpheus is a broad spectrum 190 item work-based combined personality and integrity questionnaire that generates scores on sixteen scales - seven minor scales, five major scales, and four audit scales. The minor scales of Orpheus are Proficiency, Work-orientation, Patience, Fair-mindedness, Loyalty, Disclosure and Initiative, and are designed to assess the integrity traits of carelessness, poor work orientation, anger, resentfulness, disloyalty, lying and inertia, within a framework traced back to Prudentius in the Fourth Century AD. The major scales are Fellowship, Authority, Conformity, Emoti

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44

Gebra, Fernando De Moraes. "O “Narciso”, de Luís de Montalvor, e a paisagem em delírio." Revista Diadorim 22, no. 1 (2020): 362–83. http://dx.doi.org/10.35520/diadorim.2020.v22n1a31737.

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O presente artigo desconstrói uma imagem cristalizada na historiografia literária luso-brasileira de que a revista Orpheu é o órgão do Modernismo Português. A leitura atenta de todos os poemas e fragmentos de prosa estampados nessa revista literária permite concluir que, tal como afirma Fernando Pessoa em carta a Camilo Pessanha, Orpheu apresenta “poemas e prosas que vão do ultra-simbolismo até ao futurismo”. Toda a apresentação centra-se no poeta e diretor do primeiro número de Orpheu, Luís de Montalvor (1891-1947). Abordo, rapidamente, algumas metáforas de leitura feitas sobre a obra de Mont

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45

Ågren, Gösta, and David McDuff. "The Return of Orpheus." Grand Street, no. 56 (1996): 108. http://dx.doi.org/10.2307/25008007.

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46

El-ghannam, Wafaa. "Orpheus in Byzantine Period." Conference Book of the General Union of Arab Archeologists 20, no. 20 (2017): 640–64. http://dx.doi.org/10.21608/cguaa.2017.29567.

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47

Marie-Jeanne Durry and Translated by John Fraser. "Orpheus' Plea (“Prière d'Orphée”)." Arion: A Journal of Humanities and the Classics 19, no. 3 (2012): 131. http://dx.doi.org/10.2307/arion.19.3.0131.

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48

Bradley, George. "Noch Einmal, an Orpheus." Grand Street 7, no. 1 (1987): 141. http://dx.doi.org/10.2307/25007050.

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49

Heath, John. "The Failure of Orpheus." Transactions of the American Philological Association (1974-) 124 (1994): 163. http://dx.doi.org/10.2307/284290.

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50

Thatcher, David. "Troilus as Ovid's Orpheus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 60, no. 1 (2001): 83–86. http://dx.doi.org/10.7227/ce.60.1.7.

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