Relevant bibliographies by topics / Orpheus and Eurydice. eng

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Academic literature on the topic 'Orpheus and Eurydice. eng'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Orpheus and Eurydice. eng"

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Kuczyńska-Koschany, Katarzyna. "Wat, poeta orficki." Colloquia Litteraria 12, no. 1 (2012): 123. http://dx.doi.org/10.21697/cl.2012.1.7.

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Wat, an orphic poet The most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, s
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Wallace, Andrew. "Placement, Gender, Pedagogy: Virgil's Fourth Georgic in Print*." Renaissance Quarterly 56, no. 2 (2003): 377–407. http://dx.doi.org/10.2307/1261851.

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AbstractThe article examines the narrative conclusion of the Georgics, in which the nymph Cyrene distills from Proteus' tale of Orpheus and Eurydice a set of practical instructions for her son to carry out. It argues that the tendency to minimize or ignore Cyrene's crucial role at the end of the poem is inseparable from Virgil's attempt to inspect the mechanics of instruction. Renaissance editors, commentators, and illustrators grappled uneasily with Virgil's attempt to make gender and placement integral components of Cyrene's pedagogy, and with the notion that successful instruction would cul
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Stabro, Stanisław. "„U Kresu Drogi” – Czesław Miłosz Wiersze Ostatnie / ‘At the End of the Road’ From Czesław Miłosz ’s Last Poems." Ruch Literacki 53, no. 4-5 (2012): 533–46. http://dx.doi.org/10.2478/v10273-012-0033-z.

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Summary Published in 2006, two years after the death of Czesław Miłosz, his volume Last Poems belongs to the late verse of great masters. Taken less literally, in Miłosz’s case this category may well include the poems of To [It] (2000), Druga przestrzeń [The Second Space] (2002) and Orfeuszi Eurydyka [Orpheus and Eurydice] (2002). The collection Last Poems brings together texts that highlight the author’s spiritual, artistic and biographical experience. Some of them extol the power of Eros, set against old age and existential motifs of human wretchedness; some are the product of autothematic r
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Nelson, Byron. "Orpheus and Eurydice (review)." Theatre Journal 49, no. 4 (1997): 513–14. http://dx.doi.org/10.1353/tj.1997.0110.

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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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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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Belfiore, P. J. "Rainer Maria Rilke: Orpheus. Eurydice. Hermes." Literary Imagination 9, no. 3 (2007): 351–53. http://dx.doi.org/10.1093/litimag/imm065.

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Zabriskie, Beverley. "Orpheus and Eurydice: a creative agony." Journal of Analytical Psychology 45, no. 3 (2000): 427–47. http://dx.doi.org/10.1111/1465-5922.00174.

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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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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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Dissertations / Theses on the topic "Orpheus and Eurydice. eng"

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Veiga, Paulo Eduardo de Barros. "Virgílio e Ovídio, poetas de Orfeu : um estudo sobre a poética da expansão seguido de tradução e notas /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/94143.

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Orientador: Márcio Thamos<br>Banca: Alceu Dias Lima<br>Banca: Ivã Lopes<br>Resumo: Versos selecionados de Virgílio e Ovídio, poetas do período Clássico da Roma Antiga, mais precisamente, da época de Augusto, são córpus desta dissertação de mestrado, sobre poesia latina. Um alto revestimento estético percebido nos versos desses dois poetas favorece o objetivo da dissertação: desenvolver uma investigação científica sobre poesia latina com ênfase na expressão poética. Basicamente, a proposta de estudo é compreender melhor o fenômeno poético, dando destaque aos recursos figurativos e icônicos assi
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Dycus, Sydney Alexandra. "Interpreting the Journey of Orpheus: An Exploration of Five Operas Based on the Myth of Orpheus over Four Centuries." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2065.

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This thesis presents the myth of Orpheus through each century of opera. Beginning with Claudio Monteverdi’s L’Orfeo in 1607, followed by Christoph Gluck’s Orfeo ed Euridice, Jacques Offenbach’s Orphée aux Enfers, Philip Glass’s Orphée, and finally, Ricky Ian Gordon’s Orpheus and Euridice in 2001. Through the analysis of plot changes, gender characteristics, and the symbolism of these five operas, the elements that have made Orpheus one of the most prominent figures in opera will be explored.
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Wilt, Kurt van. "Orphic notes." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369656.

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Brakey, Eric. "Orpheus: The Adaptation of Myth for the Theatre." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1283197360.

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Veiga, Paulo Eduardo de Barros [UNESP]. "Virgílio e Ovídio, poetas de Orfeu: um estudo sobre a poética da expansão seguido de tradução e notas." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94143.

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Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-02Bitstream added on 2014-06-13T20:35:07Z : No. of bitstreams: 1 veiga_peb_me_arafcl.pdf: 810027 bytes, checksum: e078abd57be67d247cffa943b52fbbd1 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Versos selecionados de Virgílio e Ovídio, poetas do período Clássico da Roma Antiga, mais precisamente, da época de Augusto, são córpus desta dissertação de mestrado, sobre poesia latina. Um alto revestimento estético percebido nos versos desses dois poetas favore
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Cadrette, Ryan. "Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth." Thesis, 2013. http://spectrum.library.concordia.ca/977729/1/Cadrette_MA_2013.pdf.

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The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a st
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Stein, Marcia Kay. "The Orpheus and Eurydice paintings of Camille Corot: Lyrical reflections of contemporary society (France)." Thesis, 1992. http://hdl.handle.net/1911/13599.

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Traditionally, commentators of Corot's late historical landscapes dismissed the subject matter of these works as irrelevant accessories added merely to increase their popularity and marketability. It is entirely possible, however, that Corot consciously chose the subject matter of these late historical landscapes, particularly the six paintings incorporating Orpheus and Eurydice, to reflect his feelings about life in Paris in the mid-nineteenth century, the role of the artist in society, and the effect of change on the artist. A critical examination of Corot's artistic background, of the comme
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Patrick, Jennings Mary Kay. "Orpheus and Eurydice in hell and other quantum spaces: The Golden Mean and spiritual transformation in Pynchon's fiction." Thesis, 2000. http://hdl.handle.net/1911/19515.

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Pynchon's inclusion of scientific principles and mathematical concepts in his novels has been duly noted by critics as part of the encyclopedic references in his fiction. Pynchon, however, fictionally employs his scientific and mathematical acumen as part of an encompassing Metaphor of Extremes and Means that both provides a structure for his fiction and describes the great complexity human beings experience when they attempt to interpret the natural world and their unique position in it. Pynchon's metaphor has as it basis two extreme perspectives of the natural world: the mythological world v
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Books on the topic "Orpheus and Eurydice. eng"

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Daniel, Morden, and Henaff Carole, eds. Demeter and Persephone. Barefoot Books, 2013.

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Familiari, Rocco. Orfeo Euridice =: Orpheus Eurydice. F. M. Ricci, 2000.

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Orr, Gregory. Orpheus & Eurydice: A lyric sequence. Copper Canyon Press, 2001.

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Gluck, Christoph Willibald. Orphée et Eurydice (Orpheus and Eurydice): Opera in three acts. Pellinor, 1993.

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Mikolaycak, Charles. Orpheus. Harcourt Brace Jovanovich, 1992.

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Nightsong: The legend of Orpheus and Eurydice. Orchard Books/Scholastic, 2006.

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Esam, John. Orpheus, Eurydice: Songs late & early, 1954-2006. Steele Roberts, 2009.

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Cadnum, Michael. Nightsong: The legend of Orpheus and Eurydice. Orchard Books/Scholastic, 2006.

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Esam, John. Orpheus, Eurydice: Songs late & early, 1954-2006. Steele Roberts, 2009.

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McCabe, Steve. Orpheus and Eurydice: Part 1 : Before the descent (a poetic dialogue). Lyricalmyrical Press, 2006.

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Book chapters on the topic "Orpheus and Eurydice. eng"

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Liveley, Genevieve. "Orpheus and Eurydice." In A Handbook to the Reception of Classical Mythology. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119072034.ch19.

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Brown, Jennifer N. "Cosmology, Sexuality, and Music in Robert Henryson’s “Orpheus and Eurydice”." In Sexuality, Sociality, and Cosmology in Medieval Literary Texts. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137037411_8.

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Haß, Christian David. "Zwischen Ober- und Unterwelt: Ceres und Proserpina; Orpheus und Eurydice." In Ovid-Handbuch. J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_58.

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McGinley, Kevin J. "The ‘Fenӡeit’ and the Feminine: Robert Henryson’s Orpheus and Eurydice and the Gendering of Poetry." In Woman and the Feminine in Medieval and Early Modern Scottish Writing. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230502208_6.

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"Orpheus and Eurydice." In The Complete Works. Medieval Institute Publications, 2011. http://dx.doi.org/10.2307/j.ctv13gvjbm.7.

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"ORPHEUS, EURYDICE, AND HERMES." In Poems for the Millennium, Volume Three. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942202-152.

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Konstan, David, and Pura Nieto. "55. Orpheus Reunited with Eurydice (on OF 1076–1077)." In Tracing Orpheus, edited by Miguel Herrero de Jáuregui, Ana Isabel Jiménez San Cristóbal, Eugenio R. Luján Martínez, Raquel Martín Hernández, Marco Antonio Santamaría Álvarez, and Sofía Torallas Tovar. DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110260533.345.

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Jamme, Christoph. "Love in Paramyth." In Rilke's Sonnets to Orpheus. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190685416.003.0006.

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This essay discusses the Orpheus myth, its sources, and its meaning as well as its role in art and literature, in the context of current theories of myth. In particular, it considers Rilke’s reception of Orpheus in The Sonnets to Orpheus as well as in his early narrative poem from 1904 to 1905, “Orpheus. Eurydice. Hermes,” the only poem that bears Orpheus in its title. The focus of the interpretation is on Rilke’s revision of myth: the poet makes use of the Orpheus myth to exemplify his distinctive conception of love. Special attention is given to how the representation of Eurydice in “Orpheus. Eurydice. Hermes” already embodies Rilke’s view of unpossessive love that becomes central in his later works.
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"Varieties of Modernism: Orpheus and Eurydice." In Ovid on Screen. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108756891.007.

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"Don’t look back: Orpheus and Eurydice." In Being in Love. Routledge, 2014. http://dx.doi.org/10.4324/9781315787732-23.

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