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Relevant bibliographies by topics / Venus and Adonis (myth of)

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Academic literature on the topic 'Venus and Adonis (myth of)'

Author: Grafiati

Published: 22 February 2023

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Journal articles on the topic "Venus and Adonis (myth of)"

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Kluge, Sofie. "Adonis at the Crossroads: Two (Three) Early Modern Versions of the Venus and Adonis Myth." MLN 129, no. 5 (2014): 1149–69. http://dx.doi.org/10.1353/mln.2014.0097.

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Curbet Soler, Joan. "Writing and Weaving: The Textual and the Textile in Spenser’s 1590 Faerie Queene, III.i." Sederi, no. 30 (2020): 47–68. http://dx.doi.org/10.34136/sederi.2020.3.

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Most often, Ovidian allusions are woven into Edmund Spenser’s The Faerie Queene (Books I–III, 1590) without developing into an open re-telling of myths. One significant exception occurs in Book III, Canto 1: there the action comes to a temporary stop in order to make space for a detailed description of the tapestry in the hall of Castle Joyous, which depicts the story of Venus and Adonis. This article intends to offer a reading of that episode that focuses on the importance of materiality and self-reflexivity as keys to its significance at the opening of Book III, and in the larger structure of The Faerie Queene. Here, the descriptive powers of the poet are both foregrounded and questioned, in a double movement of ekphrasis which gestures towards a serious interrogation of the value of representation, both in poetry and the visual arts. Implicitly, it is the poet (and through him, the reader him/herself) that must question his/her role and participation in the gradual and often painful awareness of the body that is foregrounded throughout Book III.

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Blythe, David-Everett. "Shakespeare's Venus and Adonis." Explicator 53, no. 2 (January 1995): 68–70. http://dx.doi.org/10.1080/00144940.1995.9937228.

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Cox, Catherine S., and Philip C. Kolin. "Venus and Adonis: Critical Essays." Sixteenth Century Journal 29, no. 4 (1998): 1141. http://dx.doi.org/10.2307/2543388.

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Lindheim, Nancy. "The Shakespearean Venus and Adonis." Shakespeare Quarterly 37, no. 2 (1986): 190. http://dx.doi.org/10.2307/2869957.

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Wilson, Richard. "A BLOODY QUESTION: THE POLITICS OF VENUS AND ADONIS." Religion and the Arts 5, no. 3 (2001): 297–316. http://dx.doi.org/10.1163/15685290152813671.

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AbstractIn 1588, Burghley drafted a "Bloody Question" for Catholics: "If the Pope were to send over an army, whose side would you be on: the Pope's or the Queen's?" What the iconography of Venus and Adonis suggests is that the poem is a critique of the martyr's course pursued by Southwell and also of the persecution brought on by Queen Elizabeth. Southwell was a cousin of Shakespeare and addressed his preface to St. Peter's Complaint to "Master W. S." (as only later appeared in the 1616 edition published on the continent). The preface clearly alludes to Venus and Adonis, The Rape of Lucrece and A Midsummer Night's Dream. By criticizing poets who make the "follies and fayninges of love" the subject of their poems, Southwell was urging Shakespeare to undertake some "graver labor" and a dangerous course of life which potentially might have led to martyrdom. As its elaborate phraseology shows, Venus and Adonis is an encoded reply in which Elizabeth is the predatory tyrannical Venus and Burghley is the boar who kills Adonis.

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Bate, Jonathan. "Sexual Perversity in 'Venus and Adonis'." Yearbook of English Studies 23 (1993): 80. http://dx.doi.org/10.2307/3507974.

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Sung-Kyun Yim. "Shakespeare and Spencer: Venus and Adonis." Shakespeare Review 53, no. 1 (March 2017): 77–95. http://dx.doi.org/10.17009/shakes.2017.53.1.004.

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Hopkins, Justin B. "Venus and Adonis (review)." Shakespeare Bulletin 30, no. 1 (2012): 74–76. http://dx.doi.org/10.1353/shb.2012.0003.

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Menon, M. "SPURNING TELEOLOGY IN VENUS AND ADONIS." GLQ: A Journal of Lesbian and Gay Studies 11, no. 4 (January 1, 2005): 491–519. http://dx.doi.org/10.1215/10642684-11-4-491.

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Dissertations / Theses on the topic "Venus and Adonis (myth of)"

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Grilli, Alessandro. "Ricerche sulla fortuna del mito di Venere e Adone." Doctoral thesis, Scuola Normale Superiore, 2013. http://hdl.handle.net/11384/86167.

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Gambato, Giada Maria Elena <1989&gt. "Women wooing: the exchange of roles in Venus and Adonis." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3149.

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Drahos, Jonathan Wade. "Shakesperean and Marlovian Epyllion : dramatic ekphrasis of Venus and Adonis and Hero and Leander." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5911/.

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This thesis is a practice-as-research project ‘articulating and evidencing’ (Nelson, 2013, p. 11) research and practical explorations of Christopher Marlowe’s \(Hero\) \(and\) \(Leander\) and William Shakespeare’s \(Venus\) \(and\) \(Adonis\), using a method defined in the thesis as ‘dramatic ekphrasis’. A theatrical adaptation of the works — staged using the language of both poems as an amalgamated visual and acoustic theatre piece — exposes (through practice) the authors’ transgressive sexual and amorous themes. The narrative poems of Shakespeare and Marlowe are interpreted as having cultural purpose, and the exegesis explores how the poems expose and challenge biased Elizabethan gender paradigms, homosocial hegemony and moral stability in Elizabethan England. Through ekphrasis and contemporary performance methodology, the adaptation transposes the narrative verse to dramatic action in order to challenge our twenty-first century audience by destabilising gender and sexuality. By transposing the narratives into performance practice, the thesis strives to link the poems’ challenge to homosocial bias in the late sixteenth-century to our modern culture — to challenge present-day audience perspectives of gender-normative and heterocentric biases. Also, the thesis describes ways in which the practice illuminates and reinforces unique differences in the authors’ dramatic style. The thesis concludes by reflecting on and assessing the efficacy of both research and practice findings.

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Roberts, Sasha. "Making oeconomies : elite domestic culture and the reception of Shakespeare's Ovidian poetry in early modern England." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296528.

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Venus and Adonis and Lucrece, though rarely studied, were Shakespeare's bestsellers: reprinted fourteen times during his lifetime, they generated considerable commentary providing rare accounts both of men and women as readers of Shakespeare and of Shakespeare's reputation among his contemporaries. This thesis examines issues of gender and sexuality in venus and Adonis and Lucrece by turning both to contemporary accounts of reading the poems and to the actual reading environment of Shakespeare's elite readers. The Elizabethan and Jacobean elite home was extraordinarily rich in visual images. Elite men and women read Shakespeare's Ovidian poetry in an environment itself furnished with Ovidian imagery. But connections between textual representation and the immediate context of reading -- by which I mean the actual rooms in which men and women read - - have rarely been examined. Despite claims for greater interdisciplinarity in Renaissance literary criticism, we still know very little about the habitats of early modem readers. However, questions of gender and sexuality currently examined in Renaissance literary criticism can be powerfully interrogated in the furnishings of rooms in which men and women read. Though little known to literary critics, the striking images that appeared upon the walls, chairs, chests and beds of Shakespeare's elite readers represent a rich source for studying early modern oeconomy -- 'or what appertains to the house'. In this thesis, I seek to show both how Shakespeare's bestselling works explore the making of oeconomy, and how his readers could have interpreted them in the making of their own oeconomies. In so doing, I explore the implications of reading Shakespeare in the early modem elite home.

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Braswell, Margaret A. "Myth and the maternal voice Mediation in the poetry of Venus Khoury-Ghata /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9399.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2009.
Thesis research directed by: Dept. of French and Italian. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Cowhey, Maureen R. ""Sweet Beginning but Unsavoury End": The Change in Popularity of Shakespeare's Poetry." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1297.

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William Shakespeare is arguably the most famous and influential author in modern history. His plays make up a literary canon that has been translated into every language, is constantly being reproduced on the stage and on film and has persisted in popularity for centuries. Yet, Shakespeare’s first and most popular text is not a play, but the narrative poem, Venus and Adonis. The text that launched Shakespeare into popularity and gave rise to this cultural icon was a poem, rather than a play. But despite its initial success, Venus and Adonis is not a central feature of the modern literary canon and Shakespeare’s original role as a poet has been overshadowed by his achievements in theatre. This paper sets out to explore what happened to Shakespeare’s legacy in poetry by examining the commercial history and aesthetic form of two of Shakespeare’s poems: Venus and Adonis and the sonnets. I will address how the dramatic literary canon was created and why it revolves around Shakespeare as solely a playwright.

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Sansonetti, Laetitia. "Représentations du désir dans la poésie narrative élisabéthaine [Venus and Adonis, Hero and Leander, The Faerie Queene II et III] : de la figure à la fiction." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030116.

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À partir de définitions empruntées à la philosophie antique (Platon, Aristote), à la littérature païenne (Ovide), à la théologie chrétienne (Augustin, Thomas d’Aquin), ou encore à la médecine (de Galien à Robert Burton), cette thèse étudie les représentations du désir dans la poésie narrative élisabéthaine des années 1590, en particulier chez Shakespeare (Venus and Adonis), Marlowe et Chapman (Hero and Leander) et Spenser (The Faerie Queene, II et III). Le postulat de départ est que le désir détermine les conditions de sa représentation : il est ainsi à la fois objet poétique et principe de création littéraire. L’approche rhétorique cible les figures de style associées au mouvement : la métaphore et la métonymie, mais aussi les figures de construction qui jouent sur l’ordre des mots et les figures de pensée qui se dévoilent progressivement, comme l’allégorie. Si le désir fonctionne comme un lieu commun dans les textes de la Renaissance anglaise, le recours à une rhétorique commune et le partage d’un même lieu physique ne garantissent pas nécessairement le rapprochement des corps. C’est face à face que sont envisagés le corps désiré, caractérisé par sa fermeture et considéré comme une œuvre d’art intouchable, et le corps désirant, organisme vivant exposé à la contamination. La perméabilité gagne le poème lui-même, dans son rapport à son environnement politique et social, dans son utilisation de ses sources et dans sa composition. Parce qu’il joue un rôle en tant que mécanisme de progression du récit, notamment dans la relation entre description et narration, le désir invite à envisager la mimésis comme un processus réversible
Starting from definitions of desire borrowed from ancient philosophers (Plato, Aristotle), classical poets (Ovid), Christian theologians (Augustine, Thomas Aquinas), and physicians (from Galen to Robert Burton), this dissertation studies the representations of desire in Elizabethan narrative poetry from the 1590s, and more particularly in Shakespeare’s Venus and Adonis, Marlowe and Chapman’s Hero and Leander, and Spenser’s Faerie Queene (II and III). The guiding hypothesis is that desire determines the terms and images in which it is represented; it is therefore both a poetical object and a principle of literary creation. Using a rhetorical approach, I focus on stylistic devices linked with motion: metaphor and metonymy, but also figures of construction which play on word order, and figures such as allegory, which progressively unravel thought. Although desire does act as a commonplace in Early Modern texts, sharing the same language and the same locus does not necessarily entail physical communion for the bodies involved. The body of the beloved, enclosed upon itself and depicted as an untouchable work of art, is pitted against the lover’s organism, alive and exposed to contamination. The poem itself becomes permeable in relation to its social and political environment, in its use of sources, and in its compositional procedures. Desire articulates description and narration, leading the narrative forward but also backward, which suggests that mimesis can be a reversible process

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Azouz, Amina. "Le voyage comme métaphore absolue de l’existence dans l’œuvre de Benjamin Fondane, Adonis et Roberto Mussapi." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040035.

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L’objectif de cette thèse est de penser le voyage en tant que métaphore absolue de l’existence dans les œuvres de Benjamin Fondane (1898-1944), Adonis (né en 1929) et Roberto Mussapi (né en 1952). Le thème du voyage, commun à ces trois auteurs, est ici étudié travers leur œuvre critique ou théorique, mais surtout poétique. Cette étude prend appui sur les théories du philosophe allemand Hans Blumenberg, et plus précisément sur la métaphorologie, discipline dont il a posé les bases. La thèse étudie le voyage sous ses différentes formes : la navigation maritime, l’envol, l’errance sur la terre, enfin le feu – qui correspondent aux quatre éléments et dessinent les grands axes d’une géographie mentale des auteurs. Il s’agit ainsi d’explorer les différentes potentialités du voyage, réel aussi bien que métaphorique. Le voyage par le feu, étudié dans la dernière partie, correspond à un dépassement des voyages placés sous le signe des trois autres éléments : métaphore de la mort, il pose la question du destin de l’individu dans l’au-delà. Il apparaît alors que l’élément liquide lui aussi peut intervenir pour poser la question des fins dernières : la figure du naufrage comme métaphore de la mort revêt une également une importance capitale pour nos poètes ; la métaphorologie de Blumenberg en fournit une interprétation particulièrement éclairante. Le voyage se révèle dès lors être aussi un thème propre à démontrer l’existence d’une « sagesse poétique », par opposition à l’approche conceptuelle des philosophes. Alors que le philosophe se tient sur la rive et observe de loin le naufrage, le poète est celui qui, par la poésie, fait l’expérience du naufrage et tente de la formuler. Notre thèse se présente donc aussi comme une réflexion sur l’emploi proprement poétique des mythes et des métaphores ; elle vise par là à rétablir le lien entre le logos philosophique et le mythos poétique, traditionnellement opposés
The set objective of this thesis is to present the travel as the ultimate metaphorical interpretation of life and existence in the works of Benjamin Fondane (1898-1944), Adonis (1929) and Roberto Mussapi (1952). Through their critical and theoretical essays and particularly through their poetic works, we decipher their own perception of travel. This analysis is based on concepts defined by the German philosopher Hans Blumenberg and particularly his theory of ‘metaphorology’. Navigating the elements of land, sea, air and fire – these four quintessential pillars of man’s ‘mental map’– we ultimately discover the different possibilities of the real travel as well of the metaphorical one, a travel which ultimately gets shipwrecked. This work is as much a reflection on the travel as it is a ‘reconstruction’ of the poetic journey. While exposing its most preferred constructs, the myths enriching them and its scope in relation to universal knowledge, the travel becomes not only a metaphor of our existence but also the looking-glass through which ‘poetic wisdom’ becomes revealed. This thesis suggests connecting links between the philosophical “logos” and poetical “mythos”, two traditionally opposing sides with the resulting conclusion that life is indeed a journey and man is its helpless and bound traveler

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Wood, Oliver J. Noble. "The representation of the myth of Mars, Venus and Vulcan in the poetry and painting of the golden age of Spain." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491081.

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This thesis offers the first detailed, interdisciplinary study of representations of the Homeric and Ovidian myth of Mars, Venus, and Vulcan in the Golden Age of Spain. The introduction sets the thesis within the context of previous interdisciplinary studies of Golden-Age culture before proceeding to a discussion of the principal sources of the myth and an analysis of classical, medieval, and Renaissance interpretations of it.

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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.

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From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.

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Books on the topic "Venus and Adonis (myth of)"

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Shakespeare, William. Venus y Adonis. Bucaramanga, Colombia: Fundación El Libro Total, 2009.

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Company, Actors Touring. Venus and Adonis. [London]: [Actors Touring Company], 1995.

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Shakespeare, William. Venus and Adonis. Mission, B.C: Barbarian Press, 2005.

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Shakespeare, William. Venus og Adonis. Oslo: H. Aschehoug & Co. (W. Nygaard), 2009.

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Munarriz, Jesus, and William Shakespeare. Venus y Adonis. Grupo Editorial Norma, 2004.

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Shakespeare, William. Venus y Adonis. Hiperion, 2006.

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Shakespeare, William. Venus and Adonis. Alces Press, 1998.

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Sanchez, Jenny. Venus and Adonis. Independently Published, 2019.

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Venus and Adonis. Independently Published, 2019.

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Vega, Lope de. Adonis y Venus. Independently Published, 2018.

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Book chapters on the topic "Venus and Adonis (myth of)"

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Hyland, Peter. "Venus and Adonis." In An Introduction to Shakespeare’s Poems, 67–95. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1057/978-0-230-80240-7_6.

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Shrank, Cathy, and Raphael Lyne. "Venus and Adonis." In The Complete Poems of Shakespeare, 1–103. Abingdon ; New York : Routledge, 2017. | Series: Longman annotated English poets: Routledge, 2017. http://dx.doi.org/10.4324/9781315707945-2.

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Guy-Bray, Stephen. "Venus and Adonis." In Shakespeare and Queer Representation, 148–74. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429423802-7.

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Hart, Jonathan. "Venus and Adonis." In Shakespeare, 17–28. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103986_2.

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Pfister, Manfred. "Shakespeare, William: Venus and Adonis." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17021-1.

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Badura, Christian. "Aitiologische Dichtung: Venus und Adonis." In Ovid-Handbuch, 463–66. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_83.

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Frazer, James George. "The Myth of Adonis." In The Golden Bough, 324–27. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-00400-3_29.

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Frazer, James George. "The Myth of Adonis." In Aftermath, 338–39. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20831-9_30.

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Bertolini, John A. "The Deep Blue Sea: Venus Loses Adonis." In The Case for Terence Rattigan, Playwright, 127–41. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40997-9_9.

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Rothman, David J., and Susan Delaney Spear. "Quintains, Limericks, and Venus and Adonis Stanzas." In Learning the Secrets of English Verse, 203–18. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-53096-9_12.

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Conference papers on the topic "Venus and Adonis (myth of)"

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Kozhaya, Joseph, Phillip Restle, and Haifeng Qian. "Myth busters: Microprocessor clocking is from Mars, ASICs clocking is from Venus." In 2011 IEEE/ACM International Conference on Computer-Aided Design (ICCAD). IEEE, 2011. http://dx.doi.org/10.1109/iccad.2011.6105340.

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