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

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Published: 4 June 2021

Last updated: 18 February 2022

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1

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Nazarenko, Ivan I. "“Orpheus in Hell”: The Transformation of the Myth of Orpheus and Eurydice in Boris Poplavsky’s Novel Home from Heaven." Imagologiya i komparativistika, no. 14 (2020): 90–109. http://dx.doi.org/10.17223/24099554/14/4.

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The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revea

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13

Rutledge, T. "Robert Henryson's Orpheus and Eurydice: A Northern Humanism?" Forum for Modern Language Studies 38, no. 4 (2002): 396–411. http://dx.doi.org/10.1093/fmls/38.4.396.

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Kristen Brida. "Eurydice tells us her favorite memory with Orpheus." Fairy Tale Review 14 (2018): 25. http://dx.doi.org/10.13110/fairtalerevi.14.1.0025.

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15

Wu, D. "Wordsworth's Orpheus and Eurydice: The Unpublished Final Line." Notes and Queries 38, no. 3 (1991): 301–2. http://dx.doi.org/10.1093/notesj/38.3.301-a.

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16

Asoyan, Aram A. "Semiotics of the myth about Orpheus and Eurydice." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2004): 4–25. http://dx.doi.org/10.17223/18137083/6/1.

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Wilson, Nia. "Hadestown." TDR: The Drama Review 65, no. 1 (2021): 188–92. http://dx.doi.org/10.1017/s1054204320000167.

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Hadestown, Anaïs Mitchell and Rachel Chavkin’s musical reimagination of the Orpheus and Eurydice myth, sidelines the issue of white supremacy in its explorations of economic inequality, environmental exploitation, and collective action.

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Schechner, Richard. "The Director’s Process." TDR: The Drama Review 65, no. 1 (2021): 79–94. http://dx.doi.org/10.1017/s1054204320000106.

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In her conversation with TDR, Hadestown director Rachel Chavkin discusses the development, casting, music, and choreography of the Broadway hit musical—a retelling of the ancient Greek myth of Eurydice and Orpheus.

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19

Bundtzen, Lynda K. "Mourning Eurydice: Ted Hughes as Orpheus in Birthday Letters." Journal of Modern Literature 23, no. 3 (2000): 455–69. http://dx.doi.org/10.1353/jml.2000.0002.

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20

Deed, Bron. "Night Vision." Ata: Journal of Psychotherapy Aotearoa New Zealand 18, no. 1 (2014): 23–34. http://dx.doi.org/10.9791/ajpanz.2014.03.

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This paper explores the poetics of death and dying using an imaginal approach. It focuses on an understanding of death, dying and palliative care within the framework of Arnold Mindell’s process-oriented psychology. It develops a mythopoetic weaving of ideas and images intended to invite reveries of death and dying that take us more deeply into a personal understanding of this liminal experience. The paper is illustrated with reference to poetry and myth, specifically the Greek myth of Orpheus and Eurydice, and offers an extended reverie from Eurydice’s perspective. Waitara E tahur

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Roach, Joseph. "Performance: The Blunders of Orpheus." PMLA/Publications of the Modern Language Association of America 125, no. 4 (2010): 1078–86. http://dx.doi.org/10.1632/pmla.2010.125.4.1078.

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Thou shalt not sit With statisticians nor commit A social science.—W. H. Auden, Phi Beta Kappa PoemPerformance is an idea that became a field. For ideas to matter to the field of performance studies, however, they must take the form of action—a play, a rite, a dance, a game, a parade, an utterance. The action of performance may be practical or symbolic, but it is “always a doing or a thing done” (Diamond, Performance 1). In this essay, I assess the idea of performance, the field of performance studies, and their common relation to action by reopening the question of mimesis, the venerable doct

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22

MIZIOŁEK, JERZY. "ORPHEUS AND EURYDICE: THREE SPALLIERA PANELS BY JACOPO DEL SELLAIO." I Tatti Studies in the Italian Renaissance 12 (January 2009): 117–48. http://dx.doi.org/10.1086/its.12.27809573.

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23

Pugh, Syrithe. "Orpheus and Eurydice in the Middle Books of The Faerie Queene." Spenser Studies 31-32 (January 2018): 1–41. http://dx.doi.org/10.1086/695570.

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Puchkov, Andrii. "Vasyl Stus’s Poem “Let Me about Sixth Today…”: Attempt of Orphean Spatial Analysis of One Dream." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 58–73. http://dx.doi.org/10.33608/0236-1477.2019.05.58-73.

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The paper presents an attempt to slowly read the poem by Vasyl Stus “Let me about sixth today…” (1975–1979) in order to identify connotative motifs of historical, cultural and subject-spatial nature. It is shown that the fixation of these motifs with the help of nouns (image), adjectives and verbs (motive) generates in the reader’s mind not so much an artistic space aimed at forming an “artistic image” as an architectonic space (plot) aimed at depicting the actions that cause (or subject to them) the semantic construction of the poem. The research methodology is based on the classical method o

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Parmegiani, Sandra. "The Presence of Myth in Claudio Magris’s Postmillennial Narrative." Quaderni d'italianistica 32, no. 1 (2011): 111–34. http://dx.doi.org/10.33137/q.i..v32i1.15937.

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This article addresses Magris’s appropriation of classical myth in his postmillennial narrative. Since his early works of literary criticism Magris explored the world of myth and the mythopoeic power of literature, but only in his postmillennial texts has he undertaken the writing of what John J. White defines as “mythological” narratives, in which he engages with the reuse and not the creation of myths. This article focuses on three works: La mostra (2001), Alla cieca (2005), and Lei dunque capirà (2006). It evaluates them as a cycle of closely connected mythological texts, built upon the int

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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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Matusevich, Alexander Petrovich. "Evolution of Alexander Zhurbin’s Musical Theatre: From “Orpheus and Eurydice” to “Love’s Metamorphoses”." Manuskript, no. 12 (December 2020): 184–89. http://dx.doi.org/10.30853/mns200556.

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28

Haitzinger, Nicole. "Staging and Embodiment of the Tragic in Pina Bausch's Orpheus and Eurydice (1975)." Congress on Research in Dance Conference Proceedings 2016 (2016): 191–97. http://dx.doi.org/10.1017/cor.2016.26.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure an

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Bula, Andrew. "Parallels and Distinctions in Wole Soyinka’s Season of Anomy and “Orpheus and Eurydice”." Journal of Critical Studies in Language and Literature 2, no. 5 (2021): 1–5. http://dx.doi.org/10.46809/jcsll.v2i5.78.

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Criticism of Wole Soyinka’s Season of Anomy alongside the Greek mythological story of “Orpheus and Eurydice” has usually been an engagement in drawing parallels between both texts, or of uncovering symbols and allusions found within the novel that echoes the Greek myth. None, however, has explored at the same time the range of similarities and dissimilarities between both narratives; nor is there available a sustained attention devoted to the criticism of both. This study fills that critical vacuum. The question thus opened up is that there are convergences as well as divergences in the narrat

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Vasiljeva, Ekaterina V. "METHODS AND TECHNIQUES OF MYTHOLOGIZATION IN S. RUSHDIE’S NOVEL ‘THE GROUND BENEATH HER FEET’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 73–82. http://dx.doi.org/10.17072/2073-6681-2021-1-73-82.

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The study is devoted to the analysis of methods and techniques of mythologization in the novel The Ground Beneath Her Feet written by the British author of Indian origin S. Rushdie. The paper explores the narrative organization of the novel, in which images and motifs of ancient mythology are used as a special code for artistic interpretation of European culture of the second half of the 20th century. The article examines the artistic reality of the novel, which combines the modern history of rock culture and classical mythology of Ancient Greece. S. Rushdie addresses problems related to the n

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Chesnokova, E. V. "Interpretation of the myth about Orpheus and Eurydice in Dino Buzzati’s “Poema a fumetti”." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 3 (2019): 354–61. http://dx.doi.org/10.29235/2524-2369-2019-64-3-354-361.

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32

Natal'ya, Bartosh. "Announcement of the book by Aram Asoyah “Semiotics of myth about Orpheus and Eurydice”." Ideas and Ideals 2, no. 2 (2016): 172–76. http://dx.doi.org/10.17212/2075-0862-2016-2.2-172-176.

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Wójcik, Tomasz. "Apis mellifera (Rilke, Leśmian, Valéry, Miłosz)." Tekstualia 1, no. 52 (2018): 101–6. http://dx.doi.org/10.5604/01.3001.0013.3132.

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The article concerns Paul Valéry’s sonet The Bee, a fragment of Rainer Maria Rilke’s letter to Witold Hulewicz, Boleslaw Lesmian’s poem The Bees and a fragment of Czeslaw Milosz’s poem Orpheus and Eurydice. The analysis of the semantic connotations and symbolic meanings of the bee, which appears in these texts, shows them as elements of a larger ontological project: an attempt to answer the question of the relation between being and non-being. In essence, this project denies the division into being and non- -being, proposing the concept of a greater whole instead the entrenched opposition.

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See, Truman. "Hear My Desire: Rachmaninov’s Orphic Voice and Musicology’s Trouble with Eurydice." 19th-Century Music 44, no. 3 (2021): 187–216. http://dx.doi.org/10.1525/ncm.2021.44.3.187.

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Stigmatized as kitsch, the music of Rachmaninov has largely been neglected by scholars. A reassessment has been made possible by recent historiography on late imperial Russia documenting the intelligentsia’s search for a messianic musician-bard, a role that several of Rachmaninov’s pre-revolutionary works take up, but not in the terms expected of them. Heard in relation to the Orpheus myth often invoked at the time, to the contemporaneous prevalence of psychoanalysis, and to the formal affinities between early modernist orchestral music and the unconscious, the music both assumes unforeseen si

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Sword, Helen. "Orpheus and Eurydice in the Twentieth Century: Lawrence, H. D., and the Poetics of the Turn." Twentieth Century Literature 35, no. 4 (1989): 407. http://dx.doi.org/10.2307/441894.

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36

Gavrilov, Victor V. "The Motives of the Myth of Orpheus and Eurydice in Mikhail Bulgakov's The Master and Margarita." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 57 (February 1, 2019): 172–81. http://dx.doi.org/10.17223/19986645/57/10.

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Güçbilmez, Beliz. "An Uncanny Theatricality: the Representation of the Offstage." New Theatre Quarterly 23, no. 2 (2007): 152–60. http://dx.doi.org/10.1017/s0266464x07000059.

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In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orph

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Janan, Micaela. "The Book of Good Love? Design Versus Desire in Metamorphoses 10." Ramus 17, no. 2 (1988): 110–37. http://dx.doi.org/10.1017/s0048671x0000312x.

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Much attention has been paid recently to the role of individual narrators within the Metamorphoses. Whereas it was once considered adequate to attribute the characteristics of the poem solely to Ovid as narrator, a number of critics have now drawn correlations between the development of certain tales and the character of the narrators to whom they are attributed within the poem.Book 10 calls particular attention to itself in this regard. Orpheus is its primary narrator: after losing Eurydice to death for the second and final time, he composes a song that recalls ‘boys beloved by the gods and y

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ШУЛЬЦ, СЕРГЕЙ. "Мотивы древнегреческой мифологии в повести Гоголя Вий". Studia Slavica Academiae Scientiarum Hungaricae 64, № 1 (2019): 171–83. http://dx.doi.org/10.1556/060.2019.64113.

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The facts of Gogol's appeal to the models of classical forms of myth and ritual are interesting not only by themselves but also in the aspect of their relationship with the arsenal of Christian mythology. The fundamental point here is that in light of the historical interpretation of the myth and the Revelation by F. W. J. Schelling, the mythology since its initial stage organically developed to Christianity, to the truths of Revelation (as the historical movement “flowed” into them). The symbolic complex of the story Vij, interlacing with Eros and Thanatos, allows parallels to the myth of Orp

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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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Doncu, Roxana Elena. "Postcolonial Myth in Salman Rushdie’s The Ground Beneath Her Feet." American, British and Canadian Studies Journal 21, no. 1 (2014): 79–95. http://dx.doi.org/10.2478/abcsj-2013-0021.

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Abstract Postcolonial writers like Salman Rushdie often write back to the “empire” by appropriating myth and allegory. In The Ground beneath Her Feet, Rushdie rewrites the mythological story of Orpheus and Eurydice, using katabasis (the trope of the descent into Hell) to comment both on the situation of the postcolonial writer from a personal perspective and to attempt a redefinition of postcolonial migrant identity-formation. Hell has a symbolic function, pointing both to the external context of globalization and migration (which results in the characters’ disorientation) and to an interior s

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Appel, Anne Milano. "Mirror Images of Remembrance in Marisa Madieri’s La conchiglia and Claudio Magris’s Lei dunque capirà: A Translator’s Notes." Quaderni d'italianistica 32, no. 1 (2011): 37–47. http://dx.doi.org/10.33137/q.i..v32i1.15933.

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A kind of parallelism is noted between Marisa Madieri’s short story La conchiglia and the novella Lei dunque capirà by Claudio Magris. In La conchiglia there is a she (Madieri the author) who writes in the voice of a he (the narrator and surviving spouse) who recalls another she (his deceased wife Naipuni) and their life together. A similar stratagem can be seen in Lei dunque capirà, though in the novella there is a he (Magris the author) who writes in the voice of a she (the narrator Eurydice) who talks about another he (her poet husband Orpheus) and their moments together. The lives reflecte

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Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure an

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Eisner, John, and Alison Sharrock. "Re-Viewing Pygmalion." Ramus 20, no. 2 (1991): 149–82. http://dx.doi.org/10.1017/s0048671x00002745.

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On 5th February 1989, the review section of The Observer carried a full-page article on a film about Camille Claudel, the sculptress who was Rodin's mistress and who spent the last thirty years of her life in a mental asylum. The iconography of this page, supposedly concerned with the film and the woman, was telling. A large central image of Rodin, arms crossed and staring masterfully forward, is ringed by three, small, peripheral images of Claudel. Each is (of course) a photograph: one of the woman herself, one of the statue of her by her lover Rodin, and one of the actress who represents her

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Moshtyleva, E. S. "Interaction of Narrative and Lyrical Principles in Texts of Contemporary Musical Performers." Nauchnyi dialog, no. 4 (April 21, 2021): 112–28. http://dx.doi.org/10.24224/2227-1295-2021-4-112-128.

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A comprehensive linguistic study of the functional features of the linguistic and communicative-pragmatic organization of narrative in text materials posted on the Internet platform is presented. Particular attention is paid to how the interpenetration of the narrative and lyrical principles occurs within one work. The material for the research was the text of the hip-hop opera “Orpheus & Eurydice” posted on the re-source “Yandex.Music”. A complex technique of interpretation of narrative strategies based on the methods of functional-stylistic, communicative-pragmatic and lexical-semantic a

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Zhilicheva, G. A. "Orphic code and its roles in the metaplots of Post-Symbolist narratives." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 91–104. http://dx.doi.org/10.17223/18137083/73/6.

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The paper deals with the Orphic code of Russian Post-Symbolist prose, discussing the meta-poetical context of the immortal head motif and the plot situations of “a poet’s sacrifice” or “a poet in the underworld.” The Orphic code is viewed as correlating with an author’s reflec-tion of the interplay between the epic and the poetical in a work of prose. In Konstantin Vaginov’s novel The Goat Song, Orphic motifs punctuate the clash between the two narrative instances – the protagonist (a poet) and the narrator. Orpheus, finding himself in the new So-viet world, loses his abilities to change the w

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Maximova, Alexandra E. "On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 4–20. http://dx.doi.org/10.21638/spbu15.2021.101.

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The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh a

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Theweleit, Klaus. "The Politics of Orpheus between Women, Hades, Political Power and the Media: Some Thoughts on the Configuration of the European Artist, Starting with the Figure of Gottfried Benn or: What Happens to Eurydice?" New German Critique, no. 36 (1985): 133. http://dx.doi.org/10.2307/488306.

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Ewals, Leo. "Ary Scheffer, een Nederlandse Fransman." Oud Holland - Quarterly for Dutch Art History 99, no. 4 (1985): 271–90. http://dx.doi.org/10.1163/187501785x00134.

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AbstractAry Scheffer (1795-1858) is so generally included in the French School (Note 2)- unsurprisingly, since his career was confined almost entirely to Paris - that the fact that he was born and partly trained in the Netherlands is often overlooked. Yet throughout his life he kept in touch with Dutch colleagues and drew part of his inspiration from Dutch traditions. These Dutch aspects are the subject of this article. The Amsterdam City Academy, 1806-9 Ary Scheffer was enrolled at the Amsterdam Academy on 25 October 1806, his parents falsifying his date of birth in order to get him admitted

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Stevens, Benjamin Eldon. "“Not the Lover’s Choice, but the Poet’s”: Classical Receptions in Portrait of a Lady on Fire." Imaginer la frontière, no. 2 (June 19, 2020). http://dx.doi.org/10.35562/frontieres.258.

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Céline Sciamma’s film Portrait of a Lady on Fire (Portrait de la jeune fille en feu, 2019) tells its 18th-century story of love and loss in part by retelling an ancient story, the myth of the poet Orpheus and his beloved Eurydice, as related by the Roman poet Ovid in his epic Metamorphoses (c. 8 CE). The myth’s most iconic moment, when Orpheus turns around to look at Eurydice and therefore loses her to Hades, occupies a central position in the film’s plot and underlies its running theme of ‘looking at’ as ‘looking back.’ By changing certain aspects of the myth – replacing poetry or singing wit

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